_ Private Collection of 
_ Paintings of the late 
"Charles M. Kurtz 

The Fifth Avenue Galleries 
46 Fifth Avenue New York 


CHARLES M. KURTZ 


Portrait by Joaquin Sorolla y Bastida 


(Not for sale) 


My, 
CATALOGUE 


OF 


OIL PAINTINGS, WATER COLORS, AND 
DRAWINGS OF THE LATE 


CHARLES M. KURTZ, Pu. D. 


DIRECTOR OF THE FINE ARTS ACADEMY 
ALBRIGHT ART; GALLERY, BUFFALO, N. Y. 


TO BE SOLD 
AT STRICTLY ABSOLUTE 
SALE BY AUCTION IN THE FIFTH 
AVENUE GALLERIES, 546 FIFTH AVENUE 
THURSDAY AND FRIDAY EVENINGS 
FEBRUARY 24 AND 25, 1910 
AT EIGHT O’CLOCK 


ON VIEW DAY AND EVENING 
FEBRUARY 21ST TO FEBRUARY 25TH, INCLUSIVE, AT 
THE FIFTH AVENUE GALLERIES 
546 FIFTH AVENUE 
NEW YORK 


é 


JAMES P. SILO, AUCTIONEER 


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at the Art School, 


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CONDITIONS OF SALE 


1. The highest bidder to be the buyer, and if any dispute 
_ arise between two or more bidders, the lot so in dispute shall be 
immediately put up again and re-sold. 

2. The purchasers to give their names and addresses and to 

pay down a cash deposit, or the whole of the purchase money, if 
required, in default of which the lot or lots so purchased to be 
immediately put up again and re-sold. _ 
3. The lots to be taken away at the buyer’s expense and risk 
upon the conclusion of the sale, and the remainder of the purchase 
money to be absolutely paid or otherwise settled for to the satis- 
faction of the auctioneer, on or before delivery; in default of which 
the undersigned will not hold himself responsible if the lots be lost, 
damaged, or destroyed, but they will be left at the sole risk of the 
purchaser. 

4. The lots to be peken away and paid for, whether genuine 
and authentic or not, with all faults and errors of description, at 
the buyer’s expense and risk, within Two Days from the sale; 
THe Firra AVENUE ART GALLERIES not being responsible for the 
correct description, genuineness, or authenticity of, or any fault or 
defect in any lot, and making no warranty whatever. 

5. To prevent inaccuracy in delivery and inconvenience in 
settlement of the purchases, no lot can on any account be removed 
during the sale. 

6. If, for any cause, an article purchased cannot be delivered 
in as good condition as the same may have been at the time of its 

‘sale, or should any article purchased thereafter be stolen or mis- 
delivered, or lost, the undersigned is not to be held liable in any 
greater amount than the price bid by the purchaser. 

7. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited; all lots un- 
cleared within the time aforesaid shall be re-sold by public or 
private sale, without further notice, and the deficiency, if any, 
attending such re-sale, shall be made good by the defaulter at this 
sale, together with all charges attending the same. This condition 
is without prejudice to the right of the auctioneer to enforce the 
contract made at this sale, without such re-sale, if he thinks fit. 

THE FIFTH AVENUE ART GALLERIES are in no ways 
responsible for the charges or manner of delivery of goods purchased 
at their sale. Jas. P. SiLo, 

Auctioneer. 


PREFACE 


“Pwourtan im eierect attaches to the collection of paintings 

made by Charles M. Kurtz, late director of the Albright 
Gallery of the Buffalo Fine Arts Academy. These canvases 
do not represent the excursion of an amateur into an unfamiliar 
field, where experience is dearly bought and lack of knowledge 
must be the apology for many pictures early acquired. Mr. 
Kurtz’ pictures are of unusually even merit. His means did 
not permit him to enter into competition with more ambitious 
collectors, but his taste, education, experience, and knowledge; 
his enthusiastic interest in and love for beautiful things, and 
his exceptional opportunities — this unusual combination rarely 
found in the equipment of a single individual — made him 
quick to appreciate merit, and enabled him to gather together 
these paintings which represent his personal taste and judg- 
ment. Nothing pleased him more than to visit an exhibition 
before the opening day, to select for himself some canvas by a 
little-known painter, and to have his judgment afterwards 
verified by an award given to his selection. And this was his 
experience more than once. So, in examining his collection, 
one is not surprised to find the almost uninterrupted merit of 
the pictures bought by him and the many names which stand 
high among our most successful painters, bearing testimony to 
his natural and trained intelligence in estimating, without 
regard to name or fame, the excellence of contemporary artistic 
production. 

His sudden death while happily and busily engaged in the 
work which he so dearly loved, his patient suffering, his resig- 
nation, his courage when brought face to face with the end, 
lend added interest to what must necessarily be a brief descrip- 
tion of his full and interesting life. 

Dr. Charles M. Kurtz was for thirty or more years actively 
associated with art interests in America and enjoyed an acquaint- 
ance with leading artists of the principal art centers of Europe, 
as well as of this country. A native of Pennsylvania, he was 
graduated from Washington and Jefferson College in 1876, 
receiving from his Alma Mater the degree of A. M. in 1879 and 


[7] 


that of Ph. D. in 1902. For three years he was a student of the 
National Academy of Design, New York, and later was for 
several years connected with the New York Tribune. For nine 
years he was editor of National Academy Notes, an annual pub-— 
lication, giving illustrations and notes of the pictures in the 
spring exhibitions of the National Academy of Design. In 
1884, he edited the Art Union Magazine, and from 1883 to 1886, 
inclusive, he was Director of the Art Department of the South- 
ern Exposition at Louisville, Ky. In 1889, he became art 
editor of the New York Daily Star, and subsequently had added 
to his duties the literary editorship and the direction of the 
Sunday Star. In 1891, he left newspaper work to become 
Assistant Chief of the Department of Fine Arts of the World’s | 
Columbian Exposition at Chicago, at the close of which he was 
tendered the Art Directorship of the St. Louis Exposition. In 
1894, and during the five years following, he visited the art 
centers of this country and Europe in the interests of that 
exposition. During these years at St. Louis, was shown the © 
first organized exhibit of works by the famous painters of the 
“Glasgow School” to be seen in this country, and here also the 
painters of the German “Secession” made their début in 
America. In February, 1899, he was appointed Assistant _ 
Director of Fine Arts for the United States Commission to the’ 
Paris Exposition of 1900. He was appointed Assistant Chief 
of the Department of Art of the Louisiana Purchase Exposition 
in August, 1901, and directed the installation of the paintings 
in the United States section, for which he was awarded a gold 
medal. For services in the interest of Bulgarian Art, he was 
created officer of the Order of Merit, by Prince Ferdinand. 
He became Director of the Buffalo Fine Arts Academy, Albright 
Art Gallery, Buffalo, in January, 1905, which position he held 
at the time of his death, March 21, 1909. 

The substance of numerous testimonials of affection and — 
esteem from many lands is well embodied in the following 
extract from a letter written by one of the leading Glasgow 
painters: ‘We have lost one of the finest men we have been 
privileged to know; and, as an Art Director, I am sure the 
world at large is the poorer, by one, of its foremost leaders in 


[8] 


our day. He was one of those rare men in the Art world that 

_ we think about but seldom meet — an enthusiast who had the 

inner instinct for what is fine in many phases of Art, and the 

energy and power to carry out public schemes for the good of 
— the world.” 

The Buffalo Express, April 26, 1909, says: ‘Since the death 
of Dr. Charles M. Kurtz, it has been a gratification to his friends 
_ to read the well-earned tributes paid to him in the leading news- 
papers throughout the country. Dr. Kurtz was a citizen of the 
world in the broadest sense of the term, and the influence he 
wielded is perhaps better shown by the eulogies which followed 
his sudden death than by any of the things written and spoken 
of him in life.” 

Recently, the Rochester papers have devoted much space 
_ to Dr. Kurtz and his work. “Rochester wants a man who will 
do for it the work which has been done for Buffalo by Dr. 
Kurtz,” says the Post Express. “He was an art connoisseur 
in the true sense of the word; not a man who had dabbled in 
canvases, painted a little, and then set up as a dilettante. He, 
_ it was, who, more than anybody else, awakened the people in 
this part of the country to a recognition of the fact that art is 
not a matter of a single school; that it is something more than 
a fad; that it is the expression of ideals which vary with race, 
with training, with individuality. He dissipated the false 
glamour which had collected about the Barbizon School and 
proved, by demonstration, that good examples of the Glasgow 
School or the works of modern Germany are infinitely prefer- 
able to imitations of Corot or Millet.” 

In gathering together the collection of pictures now offered 
for sale, Dr. Kurtz showed that catholicity of taste which 
characterized all of his work. During a period of twenty-five 
years, he gradually collected pictures which he thoroughly 
loved and enjoyed. To appeal to him a picture must possess 
absolute genuineness and reveal something sincere and attract- _ 
ive in the personality of the artist. His first rule was never to 
buy anything that he was unwilling to live with; and, although 
his pictures do not possess an equal degree of importance any 
more than did the numerous friends whom he gathered to his 


[9] 


heart, yet they each and all have some quality that laid claim 
to his affection. Alert enthusiastically to recognize new phases 
of artistic development, he never lost appreciation of pictures 
which earlier attracted his attention, any more than in alias 
new friends, did he ever forget old ones. 

With absolute independence of judgment, he bouche? pic- 
tures for their merit alone, usually of contemporary artists, 
leaving to more prosperous men the privilege of acquiring 
famous names at fictitious prices. He lived to see his most 
sanguine convictions realized in the reputations of many of the 
artists whose works he acquired in the beginning of their careers. 
The few pictures bought from his collection, while lent to 
various exhibitions, amply verified his ability as a connoisseur 
of discernment, whose pictures increased in value with the 
passing years. 

Among the pictures by American artists are: <peyeieieh 
Village of Grez,” by Wiggins; ‘Morning of Life,” by David 
Ericson; ‘‘Music of Pipe and Brook,” by George Wetherbee, 
now of London; ‘Girl in Japanese Costume,” by William M. 
Chase; ‘ Autumn” and ‘Going to the Spring,” by Blakelock ; 
“Sunrise” and “Evening,” by George H. Bogert; “Moon — 
Shadows,’ by Adelaide Deming; “Edge of the Wood,” by 
Charles H. Davis; ‘‘Moonrise,” by Charles Melville Dewey; 
“Glowing Sunset,” by F. K. M. Rehn; “Village Botanist,” by 
Francis C. Jones; “The Shadows Steal Out of the Twilight 
Land,” by J. B. Botto; “Baby’s Holiday,” by Irving Wiles; 
“A Girl in Pink,” by Childe Hassam; ‘Court of Honor,” 
Columbian Exposition, by J. Alden Weir; “Summer Skies,” 
by Arthur Parton; “An Old Road in Wales,” by Ernest Par- 
ton; ‘October Afternoon in the Catskills,” by D. F. Hasbrouck ; 
“Captain Folger” (of Nantucket), by Eastman Johnson; “A 
Puritan Maid,” by Douglas Volk; “The Portiere,” and “The 
Lavendar Shawl,”’ by Hermann Dudley Murphy; “Fisherman 
Returning,” by Rhoda Holmes Nicholls; “Something in the 
Woodpile,” by Frederick Waugh; and «Sails | in Sunlight,” by 
Henry B. Snell. 

Among the French pictures in the collection is the “Head of 
& Woman,” by Thomas Couture, which has attracted the 


[ 10 ] 


attention and appreciation of prominent artists and critics of 
many nationalities. For some time it was lent to the Metro- 
politan Museum of Art, and also won much admiration while 
on exhibition in the loan collection of the United States 
Section of the Art Department of the Louisiana Purchase 
Exposition. , 

Distinguished art critics have agreed with Mr. Kurtz that 
the lovely Barbizon landscape, by Hervier, is a better picture 
than many examples by Diaz or Rousseau, and that the poetical 
interpretation, ‘ Evening’s Gleanings,’”’ by Luigi Loir, is a pic- 
ture so full of rest and peace and quiet that it will carry its 
benison into any home or gallery where it may hang. 

The “Shores of Brittany,” by Bellenger, and that landscape 
so full of light and air and sunlight by Montenard, are pictures 
whose beauties increase with long acquaintance. “The Still 
Life,” by Fouace, will not suffer by comparison with Vollon. 

“Sheep on the Dunes,”’ by Anton Mauve, is, no doubt, already 
familiar to many of the admirers of this artist’s work, as it also 
hung in the Metropolitan Museum and in the loan collection at 
the St. Louis Exposition. This, with the attractive pictures by 
Artz and Steffelaar, represents the painters of Holland. 

The pictures by men of the Glasgow School make an inter- 
esting feature of the collection. It was while visiting Spain 
in 1894, that Mr. Kurtz first saw, at Barcelona, the work of 
these men, and was so attracted by the freshness, vigor, and 
sincerity of their art that he visited Scotland and organized 
an exhibition, which was brought to America. His admiration 
for these individual men and belief in their future was demon- 
strated by his purchase of their pictures, ‘‘ Reverie” by Hornel; 
“Rhapsodie,” by Stevenson; ‘‘ Haunted Chateau,” by David 
Gauld; “A Night in Oban,” by Guthrie; ‘“ Ebbing Tide,” by 
Hamilton; ‘A Cock,” by Pirie; “Moonlight,” by Kennedy; 
“Shores of Iona,” by Houston; “On the Stour,” by MacGregor ; 


and “Violas,” by Park, are pictures that will always reveal _ 


_new charms to those who look for them. 

The Japanese pictures by E. A. Hornel were Mr. Kurtz’ 
constant delight, as he said they kept him from ever becoming 
depressed. Christian Brinton in Modern Artists well describes 


(tie 


these decorative pictures when he says, “The sonorous canvases — 
of Hornel suggest the richness of an ancient missal.’ 
The pictures by Leo Putz and Theodor Hummell, selected 


from the exhibition of Contemporary German Paintings brought — ‘ 


by Mr. Kurtz to America in 1906, made a very personal appeal 
to him from different standpoints. 

The three sketches by Sorolla are characteristic of this 
artist. . 

The portrait of Dr. Kurtz, although not for sale, is exhibited 
with his collection. Of it, Mr. Kurtz himself said, “It is a 
work of art that will live long after I and all I have done have 
been long forgotten.” The New York Herald of May 26, 1909, 
contained a reproduction of the portrait with the following 
comment: ‘Readers of the Herald Art Section should be ~ 
interested in the portrait of the late Charles M. Kurtz, painted 
by Senor Sorolla. Mr. Kurtz, as director of the Buffalo Fine 
Arts Academy, Albright Art Gallery, edited Academy N otes, 


. from which the Art section has quoted many clever and brilliant _ 


things. The portrait was painted on a Tuesday afternoon. 
Wednesday evening, Mr. Kurtz was stricken with an illness, 
which terminated fatally the following Sunday.” 

In Academy Notes, in the issue following Mr. Kurtz’ death, © 
the Sorolla portrait was reproduced, and the writer of this 
preface editorially gave the following account of the circum- 
stances under which it was executed. ‘On the afternoon of 
Tuesday, Senor Sorolla painted, in one short sitting, the charm- 
ing portrait reproduced on a previous page. To those who 
had the good fortune to see this magic performance at the 
Albright Gallery, the scene was one never to be forgotten. 
Mr. Kurtz stood at the doorway of the North Gallery; the 
distinguished Spanish painter worked oblivious to the small 
group of men and women who looked admiringly on. One 
cannot help feeling when one recalls the scene that this was the 
_ summit of Mr. Kurtz’ career. The whole man was alert and 
smilingly happy. In the gallery to which he had given four 
years of entire, unselfish devotion, and which under his care 
had grown to occupy a high place in the best life of this city of 
Buffalo, he stood; content that the task to which for years he 


[12] 


had looked forward, the exhibition of the paintings of Senor 
Sorolla, was an accomplished fact; happy in the security of a 
position of which he had proved himself to be a master, and 
confidently looking forward to a future full of work and success 
for the institution in which he played so large a part. * * * 
Here one also would wish to pay some slight tribute to his 


eo memory, to tell of his devotion to his work, of his constant 


enthusiasm for all serious artistic effort, of his stimulating 
encouragement to all students and painters, of his keen, frank, 
and helpful criticism, of his untiring work for Academy Notes, 
which he created and edited, of the succession of interesting 
exhibitions which he brought every year to Buffalo and which 
_were the delight and profit of thousands of our citizens. 

i One would like to acknowledge the high character of the 
man, his vivid personality, his courage, his warm friendship, 
his kind and honorable way of life.” 

And now, in conclusion, one is glad to remember, in looking 
at this collection of paintings now offered for sale, how happy 
their acquisition and possession made Charles M. Kurtz, and 
how well they represent his wide interest and refined taste. 
One is led to believe that many a purchaser will acquire here 
what will give him, too, that same continued pleasure which 
their former owner always took in them. 

PuZs, CARLETON SPRAGUE. 
_ Buffalo, N. Y., January, 1910. 


~ 


[ 13 ] 


CATALOGUE 


FIRST EVENING’S SALE, THURSDAY, 
FEBRUARY 24, 1910 


1 


J. B. BOTTO 4 O 
Evening 
A low-toned picture, the dark trees showing softly against the 
darkening sky. A little to the left the gable end of a white 
house is visible in the gloom; and, in the foreground, quiet water 


reflects the faint light of the sky. 
Signed at the right. Height, 114 inches; width, 18 inches. 


2 


- 
JOSEPH H. BOSTON, A. N. A. 5 
A Country Girl Z 


The head and shoulders of a child seen in profile, facing to the 
left. Forming a background is a sunlit meadow. ‘The dark base 
of a row of trees throws into relief the upper part of the girl’s head, 
which, with her shoulders, catches the full light of the sun. 


Signed at the right. Height, 16 inches; width, 12 inches. 
3 is 
MISS L. C. ATKINSON } : 
Chrysanthemums 


A glass bowl filled with chrysanthemums, one of which has 
fallen onto the table. 
Signed at the left. Height, 16 inches; width, 22 inches, 


[15] 


$0. ae 
4 és | : | : 
/ A. VAN CLEEF DODGSHUN 


A Bit of Country (Water Color) 


Wild flowers in the foreground, and trees rising on either side __ 
of a small stream; and beyond, a meadow. On the right are houses, 
their chimneys and gable ends breaking the sky line. On the left 
a small woods. iar ier saint ce 

Signed at the left. Height, 8 inches: width, 10 inches. 


or WILLIAM FORSYIa) 9 
| 0 The Apprentice 

Illustration Bary a 

A clockmaker’s ’prentice boy in shirt sleeves and blue apron, 

seated on.a block at the end of a table. In his lap are the works 

of a clock, and his right hand, resting against the end of the table, 

holds a clock wheel, which he examines. His dark hair shows 
strongly against the gray wall which forms the background. ; 

Signed at the left. Height, 20 inches; width, 16 inches. 


a er iy 


M, 0: DUBOIS F. ae 
Winter in the Catskills ree . 
A woodland, with pine trees silhouetted peed the 7) mie 
the sun flushes with yellow and pink. From near the center of 


the canvas to the right edge runs a fence. A small creek comes 
from the trees at the left out across the snowy foreground. 


ey] 


~ 


Signed at the right. Helehts 16 inches; width, 24 inches. 
q 
O ELEANOR A. HOLMES 
| Sweet Briar Roses 


A bunch of sweet briar roses lying upon a polished table which 
reflects their pink blossoms. The background is a gray blue. 
Signed at the left. Height, 7 inches; width, 11 inches. 


[ 16 ] 


THE APPRENTICE 


WILLIAM FORSYTH 


8 
HARRINGTON MANN f : 
(Glasgow School) Z 


An Italian Landscape 


Between two lines of trees in a walled garden a woman with a 
red handkerchief about her head is walking toward the spectator. 
The sun shines brightly, casting dark shadows of the trunks and 
twisted branches of the trees upon the grass. In the upper corner 
on the left are dark trees, and above the wali, in the center of the 

- picture, a bright blue sky. ; 
Signed at the left. Height, 10 inches; width, 12 inches. 


9 
FRANK C. MATHEWSON | 5 
White Horse Inn (Water Color) 


An interesting water color of the old Auberge du Cheval Blanche 
in Paris. The entrance and the left side of the courtyard are in 
shadow, forming, with the underside of the wooden roof and the 
wall and doorway on the left, a frame for the patch of sunlight 
shining brightly on the wall of the inn. In the court a man is 
harnessing a white horse to a covered cart, its green front, caught 
by the sun, making a bright contrast to the red wall. 


Signed at the left. Height, 10% inches; width, 84 inches. 
10 
STUART PARK 4 5 : 
Daffodils 


A jar of yellow daffodils against a dark background. The jar, 
cream colored with a purple pattern on its side, is strongly lighted 
and casts a shadow on the red table cloth on which it stands. The 
whole brushed in with astonishing bravura. 

Signed at the right. Height, 12 inches; width, 15 inches. 


est aa 


11. 


| 0)» -DuBOIS F. HASBROUCK 
| The Melancholy Days Have Come 


An autumn landscape; through the light aa one sees patches 
of blue sky. On the trees but few leaves are left, and everything i in 
the rolling country, with farm buildings, speaks of the lateness of 
the season. In the shadowed foreground is a rabbit. ie a a 

Signed at the left. ’ Height, 14 inches; width, 20 inches. | vo ie 


12 


p ‘ N. STEFFELAAR ras. 
9 : A Dutch Interior (Water Color) | on by 


Illustration ay 


Near the center of the canvas, a Dutch woman in a white cap oe 
is seated darning socks. Near her and in front of the window is a 
table with food. A boy in sabots, at the left, is leaning against the 
table and looking out of the window. The back of his head, which 
is toward the observer, comes dark against the greenish note of | 
the muslin curtains. On the woman’s left, in the corner Of the 
room, is a cradle, covered over with a dark cloth. | 

Signed at the right. Height, 114 inches; width, 164 inches. 


[0 : 


GEORGE B. WOOD — 
Drifting 


Two figures in a boat, one in the bow lying back and holding the 
oars, the other in the stern, seated sidewise fishing. The boat 
casts a dark reflection in the still water, which mirrors the ORR 
sky. Beyond are distant mountains. 

Signed at the right. Height, 64 inches; width, B inches. 


£20] 


N. STEFFELAAR: A DUTCH INTERIOR 


| 14 
-. GENJIRO YETO | O t 


A Poppy 


_ A Japanese rendering of a pale-pink poppy, indicated in outline 

with a brush. The dark stems and leaves make an interesting 

note, to which the monogram to the right gives a contrast of color. 
- Signed at the right. Height, 121 inches; width, 8} inches. 


ts 0: 
J. B. BOTTO 
A Spring Morning 
A delicate spring landscape. In the foreground marshy land 
and water; and, at the left, two trees which reach beyond the top 
of the picture. The trees beyond them are soft with the feathery 
foliage of early spring. A simple sky completes a very harmonious 


little canvas. 
Signed at the left. Height, 93 inches; width, 13} inches. 


4) 
16 5 

CARL C. BRENNER 3 f 
An April Day in Kentucky 


A moist, blue sky with a few soft clouds. To the right and left 
rise tall trees, their branches soft against the sky. In the middle 
distance is a fence, and in the foreground, water reflecting a gray sky. 

Signed at the left. Height, 15 inches; width, 84 inches. 


17 | 4) O : 
EDWARD DUFNER 


Mariette 


A jolly little girl in a red dress. She is seated near a table on“ 
which is some interestingly painted still life. In her right hand she 
holds a white bowl, and in her left, hanging down at her side, a 
spoon. She looks out at the spectator, smiling. 

Signed in the lower left-hand corner. Height, 25 inches; width, 19 inches, 


[ 23 ] 


)) 18 i: 
i ; CHARLES WARREN EATON, N. A. 
Twilight in Winter _ 


A delicate evening sky, with clouds at either side and near the — 
horizon, their edges tinged with the light of the sun, which has just 
dropped below the horizon at the left. The open foreground ies 
snow-covered, a stone fence crosses the picture, following the _ 
sweep of the land, the snowy line of its top broken at intervals. 
In the distance the trees make a darker note in the composition. 

Signed at the right. Height, 7 inches; width, 104 inches. | 


19 


we 
| | 5 , AUGUST FINK 


A Bavarian Landscape 


On the left an old white-walled cottage with brown roof, warm 
in the sunlight; a woman in a blue dress standing at the door. In 
the middle of an old road in front of the cottage is a girl with geese. 
Two figures to the right. Above, a bright sky with fleecy clouds, 

Signed at the left. Height, 10 inches; width, 154 inches. | 


20 


: a JOHANNES GRIMELUND 


Fisherman’s Hut, Norway 


View of a Norwegian Fiord. A small wharf leads from the lower 
right-hand corner of the picture to where a woman and child stand 
near a rowboat, which is moored to the shore and in which a man 
is seated. Above the woman and beyond is the fisherman’s hut, 
red, with white window frames. Through the center of the canvas 
leads the blue water of the fiord on which moves a boat with yellow 
sails. On the opposite shore rises a hill, and below it, at the extreme 
left, is a house red-roofed, and white-walled. The sky is delicately 
gradated; clouds tinged with pink near the horizon. 

Signed at the left. Height, 15 inches; width, 22 inches. 


[ 24 ] 


21 
CHARLES J. HAGBERG 0 
‘Midsummer, Modurise at Sea 


Near the center of the canvas a full moon is rising, the sky about 
- it rosy. At the horizon the sky is cloudy with detached clouds 
higher up. The moon is reflected in a light line at the most distant 
_ part of the water and forms a pathway across the restless sea to 
the front of the picture. . 
_ Signed at the left. Height. 23 inches; width, 36 inches. 


ELIZABETH HARDENBERGH 
Geraniums (Water Color) 


_ Acharming water color of scarlet geraniums in a bowl of a delicate 
but bright green. The background, on the right, is in shadow as 
are some of the geraniums; this darker note acting as a foil for the 
brilliant notes of the brightly lighted flowers. The coloring is 
brilliant but delicate and harmonious. 


Signed at the left. ih: Height, 10 inches; width, 12 inches. 
23 9 
ELIZABETH C. HUNTER : 


Nasturtiums (Water Color) 


A delightfully decorated panel of a blue vase of nasturtiums. 
The background is dark, and the strong colors of the flowers and 
leaves in full light, with the blue of the jar, make a pleasant pattern 
of color. : 

Signed at the left. Height, 5 inches; width, 11} inches. 


[ 25 ] 


24 
: HARVEY JOINER Notas ee 
A Winter Sunset ee alae 


A snowy foreground with grass and bushes showing here and : 


there. On the right are trees, the two nearer ones reaching out of 4 


the top of the picture. es the left a stream flows back through a 

the center of the picture, reflecting in its surface the ie of ‘the f 

evening sky. | 3 
Signed at the right. ; Height, 12 inches; width, 9 inohenc aa? ae 


25 
oO: J. F. KENSETT, N. A. 
Autumn— Maples and Birches in October 


A woodland scene. The light trunks of the birch trees on the 
right and their slender branches contrasting with the warm tones 
of the autumn foliage beyond. In the foreground a stream, its — 
diminished water showing bare patches of pebbly bottom. 7 

Height, 114 inches; width, 84 inches. 


26 va 
f & , GEORGE W. MAYNARD, N. A. 


Beach at Easthampton, Long Island 
A sunny day on the beach. In the middle distance are figures 
walking about or seated in the shade of awnings, watching the 
bathers.. To the right, in the distance, sand dunes. In the fore- 
ground the sand is marked with footprints and wagon tracks. 
Signed at the left. Height, 10 inches; width, 224 inches. 


27 
0 Fi ANNIE L. MORGAN > 
A Cluster of Grapes 


A study of two bunches of grapes. The yellow-gray tones of 
the wall on which the grapes are growing and the warm green of 
the leaves make an agreeable contrast to the color of the fruit. 

Signed at the left. Height, 9 inches; width, 124 inches. 


[ 26 ] 


CHARLES REIFFEL 


28 ae? 


Stet Low Tide on the Thames 
sett f the distance, the buildings of the city. The water in the middle 
distance is light, and against it the hull of a single-masted vessel 
shows as the strongest dark of the composition. Part of a row- 
boat is visible at the extreme left; stranded, as is the sailing vessel, 
by the receding tide. The shallow water and river bottom of the 
foreground are in shadow. 


Signed at the right. _ Height, 8% inches; width, 10 inches. 


E. M. SCOTT 


29 : | a 


Pinks (Water Color) 


At the right, a bowl with pinks, their red flowers and green 
stalks showing brightly against a warm, gray background. 
Signed at the right. Height, 94 inches; width, 12% inches. 


30 8 8) ’ 
MAX WEYL 


In the Kaloramas Hills near Washington, D. C. 


A windy day, with cloudy sky, and the land in sunlight and 
shadow. In the middle distance, on high ground, are trees, their 
foliage dark against the sky; below them, rocky ground, where 
cows are grazing. A path leads into the picture through the fore- 
‘ground shadow, directing the eye to the distant horizon at the 
right. 

Signed and dated at the right. Height, 16 inches; width, 24 inches. 


[ 27 ] 


g 0 ’ 31 
eo CHARLES LIVINGSTON BULL 


és Where the Little Fawn Came Down to Deas Fe 
(Water Color) ~— Ee 


NEiie hi 
On the dead trunk of a tree, facing to the left toward its plier ee: 
roots, a large member of the feline tribe is lying, its face and attitude 
eloquent of repletion and contentment. Below the tree trunks and ~ 
beyond it, blue water flows around the rocky shore. The whole 
very simply treated with a careful management of the decorative sal 
lines of the composition. | tae 
Signed at the right. Height, 12) inches; sidthy 205 aiea tem 


32 
f) Q ) J. W. CASILEAR, N. A. 
| The Genesee Meadows 


A quiet stretch of water in which the trees of the banks are 
reflected. In the middle. distance, cattle are coming down to drink, 
and beyond them the meadows stretch away to the trees at the 
horizon. Above, is a sunlit, summer sky with light clouds. 

Initials at the right. Height, 10 inches; width, 16 inches. 


QO. 33 : 
4 RALPH ALBERT BLAKELOCK es 
Going to the Spring 3 


In the lower left-hand corner is a spring, to which, from the 
evening gloom of the woods, an Indian maiden comes down for 
water. She carries a jug in her left hand, her right, across her breast, 
holds a bead necklace she is wearing. The upper part of the picture 
is dark with the foliage of great trees, their trunks and lower branches’ 
patterned against the evening sky, which, at the left, gives to the 
canvas its brightest light. 


Signed at the right. . Height, 9 inches; width, 53 inches. 
[ 28 } 


SSC Bo A> goles Fa®. 26h 19H, 


; 34 
W. De LEFTWICH DODGE 
Mid-ocean 


A broad expanse of blue water, above which float clouds tinged 
with the warm light of a declining sun. The violet of the clouds 
and the blue of the sky, turning to a delicate green as it nears the 
horizon, form a very agreeable color combination. 
; Signed -at the left. Height, 394 inches; width, 20 inches. 


7 peas 14 f) , 
A. VAN CLEEF DODGSHUN 


_A New Jersey Landscape (Water Color) 


From the center of the foreground a road leads back into the 
picture, a stream to the left, and meadow land to the right. In 
‘the background tower great elms, their trunks light against a mass 
of willows. To the left and right are houses, and above, a light, 
cloudy sky. 

Signed at the left. Height, 8 inches; width, 10 inches. 


36 : a) \ 
Cc. C. GRISWOLD, N. A. 
A View in Italy 


At the right of a grassy foreground with rocks, trees rise from ~ 
the hillside. A path leads into the picture. In the middle distance 
is a lake with houses on the opposite shore, and. beyond, a wooded, 
hilly country. 

Monogram at the right. Dated. Height, 8 inches; width, 64 inches. 


[ 29 ] 


37 
0 \ CHARLES J. HAGBERG 
Moonlight After Storm at Sea — 


In the front part of the picture the waves:are breaking in foam, 4 
and washing far over the sandy beach. The moon, near the center 


of the canvas, makes a pathway across the waves and i is reflected 


with a softer light in the water of the foreground. At. either side 
the distant water is dark, and near the horizon are sailing vessels, ae 


dark also, against the clouds of the lower sky. Above, the clouds _ 

have broken, their detached parts hurrying across a clear oat 

Those near the moon are edged with its light. : Raise 
Signed at the left. Height, aT eas: i 474 inches. 


O J. WHITELAW HAMILTON — 
(Glasgow School) 


Venice . 
seg Nati 


At the left of the picture, ffee up, rises fhe Companit bith the 
Church of San Marco, showing above a line of houses. The sunlit 
parts of the Palace on the right are reflected in the wide stretch of 
undulating water. To the left gondolas are moored. A beautiful, 
delicate color scheme. 


Signed at the right. Height, 20 inches; width, 24 te 


7 39 oe. 
b \ CHILDE HASSAM, N. A. 
Waverly Oaks (Pastel) 


A breezy, summer day. Between the trunks of the trees are 
seen great, white clouds forming a background for them, and from 
above, through their branches, the sun throws a pattern of light 
and shadow on the green grass. Evidently a quickly made picture, — 
but conveying a strong impression of the swaying of the branches 
of these stately old trees in the summer airs that blow about them. 

Signed at the right. Height, 18 inches; width, 22 inches. 


[ 30 ] 


Ss a: é ‘ = - 


omen es sd, WHITELAW HAMILTON: VENICE 


* ie 


-~LEE LUFKIN KAULA 
Girl in Red (Water Color) 


A little girl in a red coat and a red hat trimmed with black, 

seen against a gray background, on which, at the left, her shadow 

_iscast. She is turned slightly to the spectator’s left, the figure seen 

to the elbows. At the throat, a little of a white dress is visible. 

The hair, worn in a plait at the back, is a light brown, and the eyes, 

which are looking out of the picture, blue. The head is unusually 
well modeled for a water color. 


Signed at the left. Height, 18 inches; width, 22 inches. 


J | 7 


41. » NY 
AUGUSTUS KOOPMAN % 


Street Scene 


A rapidly painted view of an old street, fresh in color. The 
buildings on the right and the church tower rising near the center 
of the picture sunlit above, with their bases in the shadow that 
bathes the street. Figures moving to and fro make variegated 
coloring in the shadow. On the left, a house, forming the corner 
of the street, its brown roof reaching above the top of the canvas. 
- Signed at the right. Height, 15 inches; width, 18 inches. 


42 6) 


JERVIS McENTEE, N. A. 
A Tributary of the Delaware 


An autumn landscape, the red and green foliage of the trees on~ 
the right bank of the stream reflected in its calm surface. On the 
left, the trees are almost leafless, their branches showing dark against 
the sky and the hill beyond. 


Signed at the right. Height, 11 inches; width, 154 inches. 
[ 33 ] 


43 
| | | CORNELIA F. MAURY 


A Chorister (Water Color) | 


A brown-haired boy in cassock and surplice seated ” on. a Sate 
He holds in his hands a book, which, with his surplice, reflects Tight 
into his face as he bends his head to read. : son 

Signed at the right. Height, 114 inches; width, 16 inches. 


¢# 


Tae nas 


LOUIS R. MIGNOT, N. A. 


On the Orinoco River, Venezuela 


A tropical landscape, with a bright, hazy, sunlit sky, cloudy — 
near the horizon at the left. To the right, beyond a wide 
stretch of flat country, are gray-blue mountains; and, in the — 
center of the picture, dark against mountains and sky, a mass of 
trees. Toward the left a rowboat, on the calm waters of the 
river, leaves behind it a trail of light across the dark reflection 


the trees. ; 
Signed at the right. Height, 104 inches; width, 173 inches. 
45 : \ 
4 \ 


EUGENE SPEICHER 
An Opalescent Sky 


A foreground of uneven pasture land. At the right and left 
in the distance are trees, and a little to the left of the center a tree 
at the edge of a rise in the ground makes a dark. note against the 
sky. Above, float summer clouds, their warm lights and violet 
shadows pleasant with the greenish-blue of the sky aia 
them. 


Signed at the left. Height, 22 inches; width, 18 inches. 
[ 34 ] 


46 p0 


FREDERICK J. WAUGH 
| Something in the Woodpile 


In the center of a clearing, grown up with weeds and wild flowers, 
a man in a blue smock is encouraging a white bulldog in its efforts 
to get at some small animal in a pile of spruce. Beyond them, 
near the top of the picture, are the pine woods. The figures of the 
man and dog are particularly well drawn ‘and the effect of light 
good. 
Height, 13 inches; width, 16 inches. 


AT OD 


MAUD MASON 
An Old Brittany Road (Water Color) 


Near the top of the picture, sunlit beneath a bright blue sky, 
are the gray roofs and red chimneys of old stone houses. Back of 
the foreground, the road, where it leads out of the picture at the 
right, is dark with a shadow which also falls upon a low garden wall 
of light-colored stone. In the garden, at the left, a man with a blue 
shirt is working. At his left and at his right, a tree, that at the 
left with red fruit showing in the sunlight. 

Signed at the left. Height, 174 inches; width, 24 inches. 


48 | Or 


- GEORGE W. MAYNARD, N. A. 
Marblehead, Massachusetts, Low Tide 


The picture shows the rocky shore line of this old New England 
town. The water a slaty blue in which the rocks, covered with wet 
seaweed, make dark reflections. At the left are two figures, one 
upon a large rock exposed by the low water, and the other near 
him, standing in a dory. A little to the left of the center is Old 
Fort Sewell. Above the figures, at the right, is a schooner in the 
distance, its mainsails set. 

pe Signed at the right. Height, 74 inches; width, 15 inches. 


[ 35 ] 


49 


winding through it, ie meshes in ray die ee 
ground are trees, and on a road which 1 runs from 


Monogram at the right. =| Height, 14 inches 


50 


LENA KENNEDY 
9 (Glasgow School) 


Cat 


A gray-brown Persian pussy seated by a saucer of milk. 
She is fronting to the left with her head turned, looking directly 
out of the picture. The shadow is cast at the right on 1 ray 
background. The blue-rimmed saucer is partially visib 2 at 


right. . hd 
Signed at the right. Height, 124 mene width, 10i i 


fh‘ 51 


DuBOIS F. HASBROUCK 


Sunset, October 


the horizon. The fields are brown, but greener near the roreboann G 
where there is water which reflects the evening light. A little back 
of the foreground is a young tree, its branches, almost bare, showing - 
against the sky. ue 
Signed at the left. Height, 10 inches; width, As jnehent™ 


[ 36 ] 


> gc AD ara a 
ps Seer 


a0! 52 if 
| _M. F. H. De HAAS, N. A. rf 


Old Wrecks at High Tide 


Beneath a stormy sky, through which the sun throws a gleam 
of light upon the sea, the breakers are curling in past an old wreck. 
The stumps of its masts and bowsprit are silhouetted against the 
clouds. At the right, in the distance, is a schooner, sailing. 

Signed at the left. ; Height, 14 inches; width, 22 inches. 


sa or 
HILDA BELCHER 


Sibyl — Girl in Yellow Dress (Water Color) 


A charming water color of a girl seated upon a couch, which is 
covered with drapery of the same tone as the background. Her 
brown hair and the shadow of her head upon the wall make the 
darkest note of the composition. She wears a soft yellow dress, 
to which the gray-blue note of the magazine, at her left, and the 
collar and trimming of the upper part of the dress give a delicate 
contrast. The carpet is red with a gray-blue pattern. 

- Signed at the left. Height, 143 inches; width, 194 inches. 


54 08: 
M. DEFOREST BOLMER 
The Last of the Sunlight 


A hillside, warm with the rays of the setting sun, which flushes 
also the few light clouds in the sky. The moon is rising, its pale 
light reflected in the shadowed pool in the foreground. 

Height, 144 inches; width, 12} inches. 


[ 37 ] 


pen 55 
7 | ! ELEANOR A. HOLMES 


Pond Lilies (Water Color) 


On a polished table-top lie three pond lilies with: eras” 
The fully opened flower near the middle of the picture showing — 
its yellow center, which, with the colors of the table-top, — 
forms a delicate color-contrast with the gray-blue : tae coe ose 
ground. 2 | eye 

Signed at the right. Height, 10} sneha ane 15 sis: pee 


EASTMAN JOHNSON, N. A. 
Ruth 


Tey i hoes. Ba f= 
- i. on, oo 
; - ot + - 
a : a 
“ . = = +. ee 
\ 5 4 . A 
; : 
56 ay 
‘ =a jie = 
: ery 
j 
= ae 4 
=a : 3 
1 


A young woman in a gray-brown dress, seated atin her right 
arm over the back of her chair, her hands clasped. Her head, — 
which throws a shadow on the gray wall behind her, is turned 252 
the right towards a stove which stands in a recess, its side red with ae 
heat. tee | vy 

Initials at the right. Height, 18} inches; wie 16 i inches. 


Q ° 57 


GEORGE W. MAYNARD, N. A. 
The Waves at Easthampton, Long Island | 


Waves breaking on the beach, one huge comber reaching 
right across the picture. In the foreground a little of the beach 
is visible. 

Signed and dated at the right. Height, 104 inches; width, 18 inches. 
| [ 38 ] | 


LIVINGSTON PLATT: EARLY WINTER 


oe j B 

oes 

¥F: K. M. REHN, A. N. A. g 4 
Fishing Boats, Evening (Water Color) — 


An evening sky, clouded at the horizon and in the upper corner 
at the left. The sails of the schooners at the right, dark and warm 
in color, make, with their darker hulls, deep reflections in the blue 
waves of the sea. In the distance are schooners, sailing; and the 
sunset light makes a pathway across the water, a little to the left 
of the center. . 

Signed at the left. Height, 13 inches; width, 1934 inches. 


| g9 | 6) 
LIVINGSTON PLATT | 


Early Winter 


Illustration 


A sweep of sloping foreground, covered with an early fall of snow, 
which also lies in patches between the trees on the bolder hillside 
beyond. The gray wrack of a late storm hurries across the sky, 
and through it the winter sun gleams here and there upon the snow. 
The shifting, transitory character of these lights has been admirably 
represented. _ 

Signed at the right. Height, 22 inches; width, 30 inches. 


P 
60 j0 § ; 
JOAQUIN SOROLLA Y BASTIDA 


Leon 
Illustration 


A gray, cloudy sky and beneath it in the distance a hillside and 
green trees. On a meadow in the foreground are groups of people, ~ 
dark, with some touches of vermilion and white. A little panel, 
but expressing, to a surprising degree, the tremendous vitality and 
enthusiasm of the great Spanish painter. 

Signed at the left. Height, 4 inches; width, 7 inches. 


[ 41 ] 


ee 3 61 
IRVING R. WILES,.N. A. 
A Morning Stroll 


In the foreground, at the edge of a field, a little child is gathering 
flowers. She wears a light sunbonnet tied with a large bow under 
the chin, and her left hand holds to her side a Japanese doll. To 
the right of the picture stands a lady in a pink dress, her left hand 
resting on her parasol. Behind her is a bank of green bushes, and 
to the left of the picture, trees. A gray, cloudy sky. 


Signed at the right. Height, 15 inches; width, 18 inches. 
62 
p : ELIZABETH CADY WHITE 


Still Life (Water Color) 


Against a dark, reddish background, at the left, is a large brass 
ewer, its polished surface reflecting the light. Behind it, on the 
table, are apples, and beside it, at the right, a black tray. Nearer 
the front of the picture, in strong light, is a yellow and blue vase 
with bright high lights, and beside it are apples. At the right isa 
green drapery. 


Signed at the left. Height, 30 inches; width, 22 inches. 
| 63 
O i RALPH ALBERT BLAKELOCK. 
Evening 


Through an opening in the dark foliage of the foreground trees, 
one sees, across a wide field, the fading light of the sunset. A char- 
acteristic little canvas by this artist. 

Height, 4¢ inches; width, 8 inches. 


[ 42 ] 


«64 iS) : 
GEORGE H. BOGERT, A. N. A. g 
Moonlight, Etaples, France 


A canvas of colored grays; a play of greenish blue and rose 
with some darker brownish notes. At the right are the houses of 
a fishing village with a windmill in the distance. Above them the 
yellow moon, the sky about it rosy and greenish blue. Against its 
misty light the sails of the fishing fleet show dark. One of the 
boats has a light near the base of a mast. Astern of it, and a little 
nearer the observer, is a man in a rowboat. To the right, and 
nearer the foreground, another rowboat is moored, its bow where 
the reflections of the moon light the water. 

Signed at the right. Height, 18 inches; width, 26 inches. 


65 7 
E. A. HORNEL 
(Glasgow School) 


The Balcony, Yokohama, Japan 
Illustration 


02 


A decorative color arrangement. In the foreground the head 
and shoulders of a Japanese girl, nearly life size, holding a fan over 
which she looks out at the Japanese junks, at anchor in the blue 
water of the harbor. 


Signed at the left. Height, 16 inches; width, 20 inches. 
66 l, & 
D. Y. MacGREGOR / 
(Glasgow School) 


Shoreham, England (Pastel) 


It is well on in the afternoon, and the houses on the left throw 
the broad street in the foreground into shadow. Little figures 
move to and fro, their dresses making pleasant notes of color in 
the low tone of the shade. In the middle distance some trees, 
rising higher than the roofs of the houses, catch the sun, and imme- 
diately beyond them the village church glows warm in its light. 
A delicate blue sky enhances the effect of this freely made pastel. 

Signed at the left. Height, 19 inches; width, 24 inches. 


[ 45 ] 


Mer 


0. ALT. Van LAER, ALN. AL 


Across the foreground stretch broad fields, wl ere t 
ing snows give tones of yellow and gray. fc 
at their farther side, i is a river, and in the dista n 
country. Se ee a 
Signed at the right. Height, rat e353 


Bo ES 
f at ¥ CARLETON J. WIGGINS, A. N., 


peaenaee to the top of the canvas. _ 
Signed at the left. 


DuBOIS F. HASBROUCK 


2 5 69 
p 0. 
A New Jersey Sunset 


From the foreground, at the left, a road leads into the picture. 
On it, near the middle distance, is a figure of a woman. A dark ee 
clump of trees beyond her and the dark line of the horizon are : 
accents that serve to enhance the delicate beauty of the taller trees: 
and the light of the evening sky. 


Signed at the left. Height, 84 inches; width, 12 inches. Ns 
[ 46 ] | 


70° 
CHILDE HASSAM, N. A. 4 § : 
. The Stoop i in Winter 


A a with a light yellow shawl and her head wrapped in a blue 
fascinator sweeping the snow off the steps of a New York tene- 
ment. At the top of the canvas the lower half of a door is visible. 
The brick wall, which shows in the upper left-hand corner, adds a 
strong note of vermilion to the composition. 

Signed at the right. Height, 9 inches; width, 7 inches. 


71 9,0 ' 


j 
JONAS LIE 


Rolling Clouds (Water Color) 


A dark foreground, and at the horizon, trees, blown by the wind, 
make dark patches against the sky. Above, the clouds of the late 

_ storm -hurry in disarray across the wind-swept sky. A well-composed 
little picture giving strongly the impression of the clearing of a storm. 


Signed at the right. Height, 73 inches; width, 92 inches. 
G2 
GEORGE MICHEL 
Landscape (Water Color and Crayon) 
A wide expanse of country with trees to the left. In the sky, 
above the distant rolling land of the horizon, are clouds. 
Height, 14 inches; width, 22 inches. 
73 f . 
HERMANN DUDLEY MURPHY 


Still Life 
‘Japanese objects, bowl and jar, etc. The gray of the jar, the” 
yellow of the inside of the bowl, and the reds at the front of the 
picture being the color notes on a dark gray background. The 
frame designed for the picture by the artist. 
Signed at the right. Height, 14 inches; width, 10 inches. 


[ 49 ] 


ie a 


GEORGE HOUSTON — 
(Glasgow School) — 


The Shores of Iona 


to sandy beach, on which the sea, a beautiful pits of Silos sant wh 

green, is breaking in white foam. In the flower-strewn foreground, 
at the left, a man leans against the stern of an old boat that is drawn is 
high above the water. The shadow of a lanes rock ¢ on Le be 
adds a darker note to the composition. — ae aes LP -: 


Signed at the left. Height, 28 inches? width, 36 inches. 


g OQ ) 15 
CHARLES H. MILLER, N. A. 
Springfield Valley, Long Island _ 


A cloudy sky. On the right, trees, with a farmsteading and __ 
figure with cattle. To the left a tree. The sun, shining through a ai 
rift in the clouds, gives a gleam of light in the foreground. = = 
- Signed at the right. Height, 12 inches; width, 22 inches. oa ery 


Prete ea: 
ees CHARLES REIFFEL 


A Street in Tangier 


A white-walled street; the left side with its doorway and win- — 
dows in sunlight. In the shadow of the house, on the right, is a 
figure, his back to the spectator. Further down the street more 
figures in sunlight, their Oriental costumes adding color to the 
little canvas. : 

Signed at the left. Height, 9 inches; width, 6} inches. 


[ 50 ] 


Pf a 
= | cae 
-. FREDERICK RONDEL 4 


Summer in New England 


A verdant New England landscape beneath a blue sky. In 
an open space in the center of the picture, on the further bank of a 
stream, two ladies and a man are talking with a youth who wears 
a white shirt and carries a fishing rod over his shoulder. Boats 
are moored at the side of the stream, which reflects the figures 
above them, reproducing the white and pink notes of their cos- 
tumes. From the nearer bank, visible at the lower left-hand 
_ corner, a tree, with few branches and clumps of foliage, rises beyond 
_ the top of the picture. | 
Signed at the left. [ Height, 8 inches; width, 10 inches. 


78 OD \ 


ISABEL L. ROSS 
A Bit of Venice 


On the right, the dome of a church, delicate in color, in the 
bright sunlight. To the left, the masts of boats. Nearer the 
observer, a bridge spans the canal, and gondolas are moored near a 
building of which just a corner is seen on the right; they and the 
_ mooring piles are reflected in the green water. 

; Height, 114 inches; width, 14% inches. 


79 i 3) 0 é 
EDMOND CHARLES YON 
Landscape, St. Auld, France 


~ 


Beneath a summer sky with fleecy clouds, lies a river, its calm 
water reflecting the abrupt banks of itsfurther shore. On either side 
of the flat valley, through which the river winds, is a hilly country; 
the skyline broken here and there with the forms of tall poplars. 
At the nearer shore of the stream is a boat among the rushes, and 
in the immediate foreground, at the left, a woman, beside a wheel- 
barrow, washing clothes at the water’s edge. At the right, a break 
in the bank makes a pleasant variation in the green of the grass. 

Signed at the right. Height, 12 inches; width, 184 inches. 


[ 51 J 


LIST OF DRAWINGS TO BE SOLD AT THE CLOSE OF 
FIRST EVENING’S SALE OF PAINTINGS 


HESE drawings, done between the years 1880 and 1890, were 

made for reproduction in Mr. Kurtz’ ‘‘ Academy Notes.”’ Made 
by the artists themselves, after their pictures that were hung at 
the National Academy of Design during those years, they have | 
an unusual interest. 


ARTIST TITLE OF WoRK 


Baker, William Bliss Neds 2 1885, Solitude. 

Bridgman, iets ESS Tne eee . Waiting for Orders. 

Brown, J. G., 1888, ht eee Kiss Me. 

Chapman, Grea T., 1887, . . . Twilight, Coast of Holland. 

Chapman, Carleton T., 1885, . . . Through the Deep Purple of 
the Twilight. 

Chase, Harry (deceased), 1882, . . The Departure. 

Curran, Charles C., 1885, . . . . . An Autumn Day. 

DeHaas, M. F. H., 1884, ... . . A Stormy Day. 

DeHaas, M. F. H., 1889, . .. . . A Moderate Breeze, Coast of 
Maine. | 

Dewey, Charles Melville, 1884, . . . At the Ebb of the Tide. 

Dielman, Frederick, 1888, . . . . . Study Head. 

Dolph, J. LISS 2 see . . . Humble Life. 

Eaton, Charles Harry, 1885, . . . Autumn Days. 

Eaton, Charles Warren, 1887, . . . Night Cometh On. 


Eichelberger, R. A. Gerescade 1889, The Harbor River in Winter. 
Fitz, Benjamin R. (deceased), 1886, A Moment’s Respite. 
Fitz, Benjamin R. (deceased), 1888, Taking in the Clothes. 


Fitler,: Witham: C.5 0203). oe eee A Showery Day. 

Foster, Benjamin, ... ..°. . . . Im Picardie. 

Gaul, Gilbert, 1883, . . . . Silenced. 

Gibson, William Hamilton, 1884, . A Reminiscence of the Housa- 
tonic. 

Gifford, R. Swain, 1886, .. . . . Autumn in New England. 

Huntington, Daniel, 1884,. . . . . The Goldsmith’s Daughter. 

Inness, George (deceased), 1885, . . A Sunset. 

Inness, George (deceased), 1882, . . Under the Greenwood. 

shurtletf iss sce Clee ee . “When Forest Leaves are 
Bright.” 

Wiles; Irving’ Rijn &. sao eee A Costume Study. 

Eaton, Charles Harry, ... . . . Morning in the Meadows. 

Parton, Arthur, ..... .. . . A Winter Morning. 

Bristol, abs; tee . . . . . Shadows on the Hills. 

Miller, Charles H., 1888, ... . . The Emblem of Universal 


Peace — Ending of a Tem- 
pest in Tyrol. 


[ 52 ] 


. ARTIST 
Satterlee, Walter, 
Cox, Kenyon, 1887, 
Ward, Edgar M., 1886, 
Woodward, J. D., 


Chapman, Carlton T., 1888, . . . 


Brown, J. G., 1887, 
Moran, E. Percy, 1883, 
Barnsley, J. M., 1889, 

Casilear, J. W., 
Van Elten, Kruseman, 


Paton, Co uamry, <<. 5 a 


Weldon, ©. D.,_ . 
Eaton, C. Harry, . 


. . . 


. . . . 


. . . 


. . . 


. . . 


. . . 


TITLE OF WorRK 
A Confidential Friend. 
The Pier. 
Resting. . 
Afternoon on the Avon. 


. February Rain — East River. 


Professional Pride. 
An Old-Time Melody. 


. Twilight, Gloucester Harbor. 


[ 53 ] 


Genesee Valley. 

Sunset After Rain. 
The River. 

“The Wedding Dress.” 
The Shiawassee River. 


CATALOGUE 
SECOND EVENING’S SALE, FRIDAY, 
FEBRUARY. 25,1910. 


3 80 
0 \ | TONY NELL 
In the Hallway 


A little NS child in the light of a hall lamp, the upper ee of 
her face shadowed by the black hat she wears. Her shadow is 
cast upon the wall, near which she stands. With her left hand ee! 
she holds an umbrella. pkce % ner “ 

Signed at the left. | Height, 30 inches; width, 17 inches. e < Se 


. 


ADELAIDE, DEMING 
“‘Moon Shadows’? (Water Color) e- 


Of this picture Rhoda Holmes Nicholls in Pallette and Bench 
for December, 1908, writes: “We hail with pleasure the picture 
that takes the Beal Prize, ‘Moon Shadows,’ by Miss Adelaide © 
Deming. It is the gem of the exhibition; view it from far or near, __ 
the charm is the same. The subject is a field with hills at the 
back and lighted cottages in the mid-distance. A tall tree casts 
its shadow across the middleground. The effect is neither of blue 
nor green moonlight; it is gray with a suggestion of both those 
colors, an effect so familiar that it convinces at once. . ... 
There is light enought to suggest local color, the foreground is 
strong and rather detailed. The shadow of the tall tree is trans- 
parent, and the whole effect ethereal and dreamy. A beautiful 
picture to live with.” 

The International Studio, January, 1909, also contains a repro- 
duction of this picture, and Minna C. Smith writes: “All shapes in 
nature have somewhat which is not of themselves; the best pictures 
give at least ‘vague outlines of the Everlasting Thought.’ This 
quality, always in pictures with any modicum of permanence, is 


[ 54 ] 


not less definitely found in ‘Moon Shadows,’ by Adelaide Deming, 
than those merits of method and clarity which helped to win for 
this one of her pictures the annual William R. Beal Prize.” 
This picture was purchased by Mr. Kurtz before the opening of 
_ the exhibition at which it received the Beal Prize. 
Signed at the left. | Height, 24 inches; width, 36 inches. 


G. R. FOUACE 
Still Life 


Illustration 


A still-life study with the light falling from the left. At the 
right is a large, brass pan, its inner surface polished and brilliant 
with reflections. Below it are strawberries on a large, green leaf. 
One of the strawberries has rolled onto the table, near a great 
bunch of asparagus, which shows light against the rich brown 
background at the left. 


82 , 2 6? 


Signed at the left. Height, 18 inches; width, 26 inches. 
83 j 
Af 

DUBOIS F. HASBROUCK (ou 


Indian Summer 


A blue sky in which float soft clouds. Beneath it a farming 
country, with farm buildings near the horizon. In the middle dis- 
tance is. a fence across the picture, with two trees on the right and 
in the foreground a creek. 

Signed at the right. Height, 124 inches; width, 10 inches. 


84 b ; 
WILLIAM KENNEDY ‘ 


(Glasgow School) 
Farmyard 


A view of an old Scottish farmyard in strong sunlight. In 
the shadow at the left, where a ladder leads to a loft, a young 


[ 57 ] 


woman stands near an open | door. She wears a dark skirt ss 


the farmyard, and over the back of the hone through a wide d a 
way, the distant sky makes a delightful note of blue.) sa a saue Gare 
Signed at the right. Height, 12 inches; width, 15 inches. 


85 
M. DEFOREST BOLMER ~ 
Looking Toward the Sea 


A wide stretch of marsh land with trees in the middle distance. se 
- Beyond, a glimpse of the sea with a gleam of the breakers. ae 
are great, soft clouds with patches of blue sky. 


Signed at the right. Height, 214 inches; width, me inches. 
S600 eS 
ELEANOR A. HOLMES 
Pink Roses eres be i * 


Pink roses lying on a polished table, beside a glass bowl, which 
is to the left. At the right, two petals, detached from the flowers. 


Signed at the left. Height, 10 inches; width, 14 inches. | 
87 
7, - ELEANOR A. HOLMES 
A Bowl of Roses 


Against a gray-green background is a glass bowl with a pink © 
rose. Beside it, to the right, a second rose lies on the table. 
Signed at the left. Height, 10 inches; width, 14 inches. 


[ 58 ] 


88 | , 
“JERVIS McENTEE, N. A. 5 O. 
A Mountain Brook 


In the foreground, the water, and the rocks and pebbles sur- 

rounding it, are in shadow. Beyond, are the woods in sunlight, 

_the trunks of some of the nearer trees showing dark against the 
warm autumn foliage. 


Signed at the right. ; Height, 11 inches; width, 154 inches. 
89 
STUART PARK 0. 
(Glasgow School) - 
White Violas 


A particularly successful example of this artist’s work. The 
flowers are beautifully arranged, and painted with an astonishing 
ease and directness that makes one feel the artist’s joy in their 
delicate beauty. The canvas of a beautiful tone. 

Signed at the right. Height, 12 inches; width, 15 inches. 


90 O. 


J. ALDEN WEIR, N. A. 


The Court of Honor, World’s Columbian Exposition 
(Water Color) 


A water color drawing of this architectural triumph. The 
flags are flying on the white palace at the left, across the lagoon, 
and in the distance on the right. In the foreground, crossing a 
bridge, the crowds of sightseers come and go. The warm tones 
.of the pavement and the yellow of the statue in the distance make 
a delicate contrast for the blue of the sky and water. 

Signed at the left. Height, 15 inches; width, 204 inches. 


[ 59 |. 


| | 91 
y p ; HENRY B. SNELL, N. A. 
| Sails in Sunlight 


In the center of the picture, in charge of a tug, is a schooner, 
its sails warm in the sunlight and contrasting beautifully with the 
violet quality of the sky beyond, its hull adding a needed note of 
dark to the composition. The water smooth, with a gentle swell, 
reflects the sails. be : Cs a 

Signed at the right. Height, 12 inches; width, 14 inches. 


Fa 92 
5 ‘ YETO GENJIRO 


Serving the Guests 


Through a doorway, in the screen-like partitions of a Japanese 
house, comes a figure. Her kimono beautiful in color, against the 
tones of the floor and background beyond. In her hands, held 
high so that it obscures the face, she carries a tray with entertain- 
ment for her guests. At the right, on mats, kneeling in Japanese 
fashion, are two figures, the nearer one drinking tea. The whole — 
done in the Japanese manner, though with evidences of a western — 


influence. 
Signed at the left. Height, 104 inches; width, 15} inches. 
| | 93 
&é - CHARLES REIFFEL 
| A Bit of Tangier 


A side street in Tangier. The warm tones of the uneven street 
pleasant in color, with the plastered masonry of the houses and ~ 
garden walls. At the left, above a wall, through which leads a half- 
open door, a tree showing adds a note of green to the composi- 
tion. 

Signed at the left. Height, 72 inches; width, 6 inches. 


[ 60 ] 


GEORGE W. MAYNARD, N. A. es - 


| SG Rain, Easthamton, Long Island 


Meadow land, through which flows a stream; and in the back- 
ground, rising ground with trees and houses breaking the line of 
the horizon. The drenched land showing dark against a light sky 
that is fast clearing of clouds. 

Signed at the right. Height, 10 inches; width, 14 inches. 


95 b 


HERMANN DUDLEY MURPHY 
The Lavender Shawl (Water Color) 


The figure of a girl, standing against a simple background of 
gray-green drapery. Her hair is the only dark note in the picture. 
She is turned a little away from the spectator, her face seen almost 
in profile. She wears a white dotted muslin frock cut low at the 
neck. Her shawl, hanging from the right shoulder, is held to 

her side by the left fore arm. She holds flowers in her left 
hand. 
Monogram to the left. Height, 184 inches; width, 10 inches. 


96 O : 
ARTHUR PARTON, N. A. 


Summer Skies 


A cloudy, sunlit sky. In the foreground, water, with rushes 
and lily pads. ‘To the right, a figure with a pole. Beyond a rolling 
country are mountains, gray-blue through the moist atmosphere, 
their outlines broken on the right by the tops of the foreground 
bushes, and on the left by the larger trees of the middle distance. 

Signed at the left. Height, 16 inches; width, 25 inches. 


[ 61 ] 


7 


‘ 97 
EASTMAN JOHNSON, N. A. 
Captain Folger of Nantucket 


A portrait, to about the waist, of a fine old sea-captain, the head, 
with its gray moustache and beard, full of character and beautifully 
painted; the handling reminding one of a Rembrandt. He is 
turned slightly to the observer’s left and wears a dark tie. A very 
interesting canvas. 


Signed at the left. Height, 26 inches; width, 22 inches. 
% 
: LENA KENNEDY 
(Glasgow School) 


Light at Evening Time 


In the middle distance, in the gloom of the twilight, a bridge 
crosses a stream. At the right is a tree and, dimly discernable, 
beyond the bridge are houses. Beneath large trees, at the left, more 
clearly seen, is a house with white walls and red roof. The sky is 
gray with a gleam of light near the horizon, at the middle of th 
picture. 

Signed at the right. Height, 12 inches; width, 16 inches. 


CHARLES J. HAGBERG 
Moon Rise at Sea 


A full moon rising in a clear sky and lighting a wide stretch of 
tossing sea, its waves rolling toward the observer to where, in the 
foreground, they break and run far up the beach. 

Signed at the left. Height, 244 inches; width, 42 inches. 


[ 62 ] 


GEORGES BELLENGER: THE SHORES OF BRITTANY 


FRANCIS C. JONES, N. A.: THE VILLAGE BOTANIST 


eo 
a Savi 
ee 


whe eh ak Ae ihe Si eee - - : a tat 


100 | 
FRANCIS ©. JONES, N. A. | ' 
a Oe The Village Botanist | 


Illustration 


A figure of an old man seated near a window. ‘The light falls 
strongly on his head as he consults a book regarding a specimen 
he holds in his right hand. On the bench near the window, boxes 
and dried plants. The lower part of the picture, and the wall 
behind him, are bathed in shadow. Out through the window are 
‘sunlit trees, and summer clouds float across the sky. 


_ Signed at the left. Height, 20 inches; width, 14 inches. 
101 0: 
GEORGES BELLENGER 


Shores of Brittany 


Illustration 


In the middle distance, beyond the great rocks of the foreground, 
lies a reef, on which the waves are breaking as they roll in from the 
wide expanse of the Atlantic. Above them the gulls are flying. 
The gray of the sky, the blue of the water, and the color of the rocks 
make a rich, low-toned harmony. 

Signed at the left. Height, 214 inches; width, 284 inches. 


102 O 
J. B. BOTTO . 


‘«The Shadows Steal Out of the Twilight Land ’”’ 


The sun has set, but its light still flushes the sky, throwing into 
relief the branches of the elm trees in the foreground. Between 
the elms in the middle distance is a house, its lighted windows and 
the smoke from the chimney adding the suggestion of comfort to 
the sense of the stillness of evening, so admirably given in this little 
canvas. 

Signed at the right. Height, 84 inches; width, 12} inches. 


[ 67 ] 


103 
J. H. DOLPH, N. A. 


An Interesting Tale 


An ably painted little picture of a kitten, ready to pounce on a 
mouse, which has been caught in a trap, the kitten with white nose 
and paws, and an expressive face. 

Signed at the left. Height, 74 inches; width, 10 inches. 


104 
a 0 . CHARLES H. DAVIS, N. A. 


The Edge of the Woods, ‘‘ Twilight ”’ 


Illustration 


A quiet evening scene, with pine trees showing dark against a 
sky flushed with the last rays of the sun. Beyond the broad field, 
to the right, a line of trees form the horizon. A path, barely visible 
in the gloom, leads from the foreground pace throes the center 
of the picture. 


Signed at the right. Height, 13 inches; width, 18 inches. 


& 105 


y r ‘ H. GORDON GRANT 


The Spook (Water Color) 


Illustration 


A graveyard in the moonlight, the gravestones casting shadows 
upon the snow. A family, father, mother, and three children, 
passing by, look, with terror-stricken faces, through the bars of 
the iron fencing. The light of a street lamp above them throws 
their faces into greater relief against the dark of the trees behind 
them. A deep blue sky completes a picture in which the effect of 
light is represented as admirably as the incident is portrayed. 

Signed at the left. Height, 284 inches; width, 22 inches. 


[ 68 ] 


CHARLES H. DAVIS, N. A.: THE EDGE OF THE WOODS, ‘‘TWILIGHT”’ 


Pe a) 


THE SPOOK 


GRANT: 


GORDON H 


~ 106 i 
-.. J. B. BRISTOL, N. A. | ; 


bs An Inlet at Moose Head Lake > 


A wide expanse of country with hills and mountains in the 
distance. The left foreground in deep shadow and beyond it a 
stretch of water, its distant surface reflecting the sun in a line of 
light. At the right, near the foreground, is a small house in shadow, 
its light smoke curling upward. The sunlit corner of the canvas 
reveals a path, which leads into the picture. The sky is bright 
and very delicately gradated. 


_ Signed at the right. Height, 14 inches; width, 22 inches. 


107 | 3 O ‘ 
DuBOIS F. HASBROUCK : 


A Winter Morning in New Jersey 


In the middle distance of a snow-covered landscape is a farm- 
steading. The house on the left and the trees about it showing 
dark against the delicate sky, flushed with the light of the rising 
- sun. In the foreground is a frozen stream, its polished surface 
reflecting the tree tops. 


Signed at the left. Height, 14 inches; width, 24 inches. 


108 Rs A 


DuBOIS F. HASBROUCK 
October Afternoon in the Catskills 


¥ A woodland scene. The cool and shadowed foreground reflects 
the autumn sky. The warm foliage of the trees beyond the creek 
golden in the hazy, autumn sunlight. Beyond them is a field with 
trees in the distance. Painted in a freer manner than was usual 
with him. 
Signed and dated at right. Height, 14 inches; width, 20 inches. 
[ 73 ] 


@) : 109 


) 0 THEODOR HUMMELL 
Sleeping Child (Gtidginneee and Green) : 


Illustration 


A little ne asleep in a large chair, her head on her left 
her hands still in a black muff that lies in her lap. She - 
in a green coat trimmed withfur. The cornerof the red li 
shows, is a pleasing contrast to the green, and the g 
plete the picture make a pleasant combination. 
done with a pallet knife to obtain greater purit: 
picture was bought from the Exhibition of Conten 
Artists brought to America by | Mr. Kurtz in 1906. 

Signed at the left. Aa ‘Height, 332 inches; Be. 


110 
ees GEORGE, W. MAYNARD, N. A. 
The Breakers 


Sabet 


A wide expanse a sea ees in surf on, | the beach. In the 


te 


distance a sail. Si mS : ise eee ay 
Signed at the left. yack 10 inches; width, 244 inches. 
Se eu id 
bgt ny 
4 y “a as 
yt ee 
111 ae ee ee 


GEORGE PIRIE pee opera 


0 0 : (Glasgow School) 
: A Cock 


Illustration 


An interesting canvas. The warm gray green of the back gees ht 
the color of the comb, the warm reds of the back feathers, and the 
darks of the breast and tail form a beautiful combination, to which 
the peacock blue note in the wing adds a delightful contrast. The — 
manner in which it is painted shows the accomplished technique of | 
the artist. 

Signed at the right. Height, 164 inches; width, 20 inches. 


[ores 


THEODOR HUMMELL: SLEEPING CHILD, 
STUDY IN GRAY AND GREEN 


GEORGE PIRIE: A COCK 


112 ’ 
O: 
LEO PUTZ | 


Washerwomen, Verona 


A broadly painted picture of four Italian women at the public 
washing place. They kneel over, washing clothes in the water of 
the river. Beyond them, the piers of a bridge cast shadows on the 
water. Behind them is piled the washing. A pleasant scheme of 
colored grays, to which the figures of the women at either side of 
the composition add darker notes.— From the Exhibition of Contem- 
porary German Artists. — 

Signed at the right. Height, 223 inches; width, 264 inches. 


| 
113 ( O y 
F. K. M. REHN, A.N. A. 


Old Wharves, Gloucester Harbor, Morning 


On the right, the old wharves, with schooners, still indistinct in 
the gloom of the departing night; their masts and sails against a 
morning sky. A little to the right of the canvas is a figure in a 
- dory silhouetted against the light water, where it reflects the glow 
of the rising sun. 
Signed at the right. Height, 16 inches; width, 26 inches. 


114 g 
IRVING R. WILES, N. A. 
In the Garden 


A path leads straight from the foreground of the picture, sunlit, 
excepting where the branches of the apple trees on the left throw a 
pattern of shadows. In the middle distance, and near the center 
of the canvas, is seated a young girl in a white dress. Her elbow 
rests on the back of a red garden seat and, with her cheek resting 
against her hand, she looks out of the picture at the spectator. 
Her attitude expressive of the peace of a pleasant summer’s day. 

Signed at the right. Height, 19 inches; width, 13 inches. 


[ 79 ] 


115 
. MAX WEYL 
On Rock Creek Near Washington, D. C. 


The upper part of the canvas is a mass of foliage and tree stems. 

In the distance, at the turn of the creek, and nearer, at the left, on 

a rocky point, which forms one bank of the stream. Upon the right 

the bed of the creek is bare. The distance and the left bank are 

flecked with patches of light where the sun shines through the 
foliage. si 
Signed at the right. Height, 18 inches; width, 27 inches. 


0 116 


CHARLES WARREN EATON, N. A. 
Twilight After Rain 


Low in tone, with the gloom of the coming night. Under the 
clouds of the late storm, the light of the sunset makes a rosy line at 
the horizon, against which the trees of the middle distance show 
dark. In the foreground, meadow land with a small stream, and 
the slender trunks of two trees reaching from the bottom to the top 
of the canvas. ; 

Signed at the right. Height, 7 inches; width, 104 inches. 


117 
£ 
| 0 SIR JAMES GUTHRIE, P. R.S. A. 
Street in Oban, Night 


The sky is clouded, excepting where, at the left, one sees beneath 
them the dying light of the day that is gone. The house roofs here 
show strongly dark against it. At the right of the center, a great 
tower rises nearly to the top of the picture, and beneath it in the 
gloom of the wide street below, a gloom modified here and there by 
the lights from doors and windows, figures are moving to and fro. 

Signed at the left. Height, 16 inches; width, 12 inches. 


[ 80 ] 


LUIGI LOIR: THE EVENING’S’ 


, 


. 


5 


GLEANINGS 


£ 118 
% - 
| | o/ _ CHILDE HASSAM, N. A. 


Evening — Return From the Fields 


Something less than half-way up the canvas, the horizon, a line — 
of rounded tree tops and the red roofs of a large house, extends | 
across the picture. The afterglow flushes the expanse of clear 
sky; brightest and rosy near the center of the picture, and gradated __ 
with a beautiful color change to the delicate blue of the upper sky. — 
At the right is a great gray house with a walled garden, and leading — 
to it from the left a road makes a narrow line of light. Along the 
road a group of laborers are riding home, one of them on a white 
horse. Their forms, and those of the haystacks beyond them to the 
left, but softly visible in the evening light. The picture is thinly 
painted on a wooden panel, which has served to add warmth to the 
color of the broad fields of the foreground. A quiet sense of the 
stillness of evening pervades this admirably painted picture. 


Signed at the right. Height, 124 inches; width, 16 inches. 
119 
0 - WILLIAM KENNEDY 
| (Glasgow School) 
Moonlight | 


The moon is rising behind the thatched roofs of the old Scotch 
barns. In the farmyard are a number of black pigs, and nearer 
the immediate foreground two ducks are swimming in a pond, from 
which one of the pigs is drinking. The color of the sky and the 
thatched roofs, of the gray walls of the buildings, and the warmer 
color of the yard itself, make a most agreeable color scheme. 

Signed at the right. Height, 12 inches; width, 15 inches. 


120 


: LUIGI LOIR 
4 The Evening’s Gleanings 


Tilustration 


A dark mass of trees against a beautifully gradated evening 
sky, with long straight clouds near the horizon; and through the 


[ 82 ] 


trees the red of the sunset. In the wide fields, which stretch from 
the trees to the foreground, are figures gleaning, dimly seen in the 
failing light. In the foreground is a pond, reflecting the light of 
the sky. A beautiful composition, pervaded by a sense of peace 
and quiet. 

Signed at the right: Height, 12 inches; width, 16 inches. 


121 | 0) 0 t 
GEORGE W. MAYNARD, N. A. 
Old Windmill, Dordrecht, Holland 


From among trees and bushes rises a Dutch windmill, its sails 
showing against a clear sky. In the foreground, to the left, a girl 
standing, with linen bleaching on the grass. To her left, a plank 
bridge across a narrow stream. 

Signed at the left. Height, 12 inches; width, 15 inches. 


122 
FREDERIC MONTENARD 


The Mediterranean, near Toulon 
Illustration 


Beneath the blue sky, with scarcely a cloud to disturb its beauti- 
ful gradation, is the deeper blue of the Mediterranean. Beyond, are 
the mountains at the right, and in the foreground, rowboats, with 
redeapped sailors plying long oars. On the left, separated from 
the water by a grassy place with weeds and flowers, is a road leading 
into the picture along the coast. In the distance, a covered wagon 
lumbers along in the heat, and nearer, just passing the gateway 
in a wall which separates from the roadway the trees and garden 
of a house at the extreme left, is an empty cart, its shadow dark 
upon the bright sunlit road. The picture is beautifully composed 
and painted and conveys a sense of the heat and quiet of Southern 
France. , 

Signed at the left. Height, 19 inches; width, 30 inches. 


[ 83 ] 


128: | 
gU" HERMANN DUDLEY MURPHY — 
‘The Portiere (Water Color) 


=A. Hee in a white dress with reddish belt, at cae a 
lilac curtain, which contrasts with the green walls of the room. At 
the left, a large jar and, at the right, high up, a bowl and small vase. 
Lower, at the right, is a Japanese kakimono. This picture was 
awarded a bronze medal at the Universal Expo St. Louis, F 
1904. 


Monogram at the right. Height, 20 inches; width, 12} inches. 


124 


& | sages = 2 
Gp 2 - ERNEST PARTON, N. A. Saas 
fi An Old Road in Wales a pea aaae: 


Illustration 


Beneath an old stone bridge runs a creek, its brown oe “ 
reflecting the rocks and pebbles of its banks. Crossing the bridge 
is a white farm horse, on which is a man, seated sidewise. Above 
tower great trees, their luxurious foliage patterned against the 
light clouds of the sky. On the left, the side of the road, which © 
coming from the distance leads out of the picture, is banked with 
stone, and below, on the grass of the foreground, are a, tree 


branches. 
Signed at the left. - Height, 42 inches; width, aL nee 
125 
‘ CHARLES REIFFEL eat ; 
4 The Lightning oe 


Above a wide expanse of water, on the further side of which is 
a distant shore line, are great thunder clouds, their towering forms 
reaching up into the clear sky. At the right, a flash of lightning 
illuminates them, forming the largest light of the compen an and 
giving light reflections in the water beneath it. 
Signed at the left. Height, 104 inches; width, 11? inches 


[ 84 ] 


ERNEST PARTON: AN OLD ROAD IN WALES 


FREDERIC MONTENARD: THE MEDITERRANEAN, NEAR TOULON 


- * 


GEORGE WETHERBEE: MUSIC OF PIPE AND BROOK 


126 f 
GEORGE WETHERBEE 4 
Music of Pipe and Brook | 
% Illustration 
An idyllic picture, presenting an effect of landscape and sky that 
at once brings to mind the masterpieces of Corot. In the fore- 
ground, a foaming brook makes its way through a mass of large 
stones and spreads out in a pool below them. At the right, a nude 
shepherd, under the shade of a large tree, plays upon his pipe. 
Near the top of the hill, in the middle distance, are several sheep. 
The sky is wonderfully luminous, and the sunlit clouds actually 
appear to be suspended. The work, as a whole, is individual and 
masterly. This represented Mr. Wetherbee at the Universal 
Exposition, St. Louis, 1904. 


‘Signed at the left. FS Height, 29 inches; width, 36 inches. 
127 : 
GEORGE H. BOGERT, A.N. A. ZL 0 


Sunrise, Coast of France 


A light canvas. A few clouds in the sky and the sails and hulls 
of the fishing boats of Etaples making the darker notes of the 
picture. The sky about the sun is rosy, and brightest in its upper 
parts, with a good suggestion of atmosphere. At the right are the 
houses of the village, the lights in some of the windows still burning. 
The water of the foreground reflects the dark boats and the colors 
of the sky, and, near the horizon, the rising sun. 

Signed at the left. Height, 22 inches; width, 36 inches. 


128 
CHARLES LOUIS COURTRY 


A French Farmyard 


In the background, at the left, a farm building with white walls 
and red roof, and about it, trees. In the foreground, on the right, 
a shed with thatched roof, in front of which are barnyard fowls. 
At the left is a trough. 

Signed at the left. Height, 94 inches; width, 12? inches. 


[91 ] 


| 
0 0 J. WHITELAW HAMILTON 
(Glasgow School) i Sa 


The Ebbing Tide 


from mre which a little stream wine Pe ta ee 
tide is nearly out, and back of the high tide line sita r 
from which, racing across the wet sand toward the 
children, to wade in the salt water. Very delice 
in color. : . | : 
Signed at the left. : Helen 18 inches; width, 


E. A. HORNEL 
(Glasgow School) 


@ 2) ; 130 ca 
| ro . 
: Street Scene, Tokyo, Japan 


fro. Their kimonos and variegated parasols forming interest 
colors and patterns in connection with the great streamers, which, 
from the tops of long poles, swing in the breeze. Reds, greens, blues, 
and yellows, with some black notes, combine to make a most pleasing pat 
color scheme. . us 
Signed at the right. Height, 30 inches; width, 19 ticlien: a 


WILLIAM MOUNCEY 
The Mill Pond | if ¢ 


ae. a 


At the left are trees overhanging the pond, and beyond, gray- $ 
roofed buildings, their light walls reflected in the water below. In — 
the sky above float summer clouds. This picture reminds one in ; 
subject and treatment of the English master Constable. 

Signed at the left. Height, 14 inches; width, 16 inches. : 


[ 92 ] 


132 ; 
ie 3 2 
RHODA HOLMES NICHOLLS yi 


Fisherman Returning (Water Color) | 


Along a path, in the moonlight, a white-bearded fisherman 
comes toward the spectator. On his right shoulder he carries a 
pair of oars. His left hand clasps that of a little girl who walks 
beside him, looking up into his face. Her figure is light against the 
dark trees beyond her. ‘To the left is a white house with a light in 
the window, and above in the sky one star. 

Signed at the right. Height, 194 inches; width, 131 inches. 


. & 
| 133 0) ) : 

JOAQUIN SOROLLA Y BASTIDA 

Playa de Biarritz 


The observer looks down upon a beach, where, in the foreground 
in, the shadow of the rocks and buildings at the right, holiday makers 
are enjoying the seaside. In the upper corner of the sketch, at the 
left, the beach is in bright sunlight, out into which the line of figures 
emerge. . 

Signed at the right. Height, 64 inches; width, 9 inches. 


134 ee 
0? 
GROSVENOR THOMAS 
(Glasgow School) 
A Summer Night 


Illustration 


This picture was described in Academy Notes by Mr. Kurtz as 
follows: ‘‘A picture of exquisite poetic feeling. It is a moonlight 
effect. The sky is suffused with the influence of the full moon — 
the mere rim of which shows from behind a dense clump of trees 
in the middle distance. A river flows into the fore space, reflecting 
the tender luminous sky and the dark mass of trees at the left — 
among which one discerns an old mansion, half hidden, with a light 
in one of the windows. There isa red light, also, down by the shore, 
which is reflected in the water below. The tall feathery trees on the 


[ 93 ] 


right bank of the stream suggest, in a measure, the trees of Corot. — 
One feels that the slightest breeze might stir the branches. 
“There is a majestic quality in the composition of this picture. — 
It has great dignity, simplicity, and wonderful pervasive charm. 
It is full of refinement and is an expression not only of truth, but 
of deep poetic feeling. It is a work to which one may go again: and 
again without exhausting it. It continually ‘grows upon one,’ 
developing new sources of charm as one learns to know it better.” 
Signed at the left. Height, 38 inches; width, 26 inches. 


135 
DOUGLAS VOLK, N. A. 
Puritan Maid 


Head of a young girl turned three-quarters face, the eyes sie 
out of the picture at the spectator. The head covering hiding part — 
of the forehead. ; Sh epee 

Signed at the right. Height, 10 inches; width, 8 inches. 


IRVING R. WILES, N. A. 
Baby’s Holiday 


A? 136 é 


In the summer house in the foreground, two figures are seated, 
the one nearest the spectator with her back turned. She holds a 
fan in her hand. The other is seated by a table, at the opposite side 
of which, near the center of the picture, the baby is standing. A 
dog looks up into the baby’s face. Beyond a railing, the grounds 
about a large house are dappled with sunshine and shadow. The 
dark door and the white frames of the windows of the house make 
strong notes in the background. A path leads away at the right 
of the picture, down which, under the trees, comes a figure. — 

Signed at the left. -- Height, 26 inches; width, 20 inches. 


[ 94] 


¥ 
- 
£ 
¥ 


GROSVENOR THOMAS SUMMER NIGHT 


~ 


“ 7 
. 


A. HERVIER: LANDSCAPE NEAR[BARBIZON ae 


eS ie Wal ta we wi ~ 


ARTZ: A DUTCH BABY 


DAVID ADOLF CONSTANT 


137 40° 
RALPH ALBERT BLAKELOCK 


Autumn 


Beyond a dark foreground, between the trunks and foliage of 
large trees, is an open space, on the further side of which are trees 
with warm, autumnal foliage. At the right, from the distant 
horizon, the sky gradates upwards to a deep blue. 


Signed at the left. Height, 16 inches; width, 24 inches. 
i | 1388 
DAVID ADOLF CONSTANT ARTZ 0 be 
A Dutch Baby 
Tilustration 


In an old-fashioned, closed-in chair with a high-carved back a 
little baby is sitting with plate and spoon. The baby, who sits 
_ fronting to the left, wears a white woolen cap, a white dress with 
short sleeves, and a blue shawl over its shoulders; its fresh-colored 
head and chubby arms glowing in the light against a rather dark, 
greenish background. 
Signed at the right. Height, 8+ inches; width, 5§ inches: 


139 | if 
A. HERVIER Se , 


Landscape Near Barbizon 
Illustration ~ 


In the center, massive trees rise against the gray, cloudy sky; 
their branches and foliage beautiful in quality. Beneath them 
stands a young woman with a red skirt, a note of color delightfully 
related to the rest of the canvas. Beyond her, and beyond the 
trees, are houses, their roofs dark and light. At the right is a pond 
in the foreground, and to the left a pile of wood beside the road. 
A picture requiring quiet contemplation for a proper appreciation 
of it, and to be lived with to be thoroughly enjoyed. 

Signed at the right. Height, 13 inches; width, 16 inches. 


[ 101 ] 


140 
a 
| 2, O CHILDE HASSAM, N. A. 
A Girl in Pink 


A girl in a pink dress, seated out of doors, busy with fancy work. 
She faces to the left. Beyond her on a low parapet are great pots 
of scarlet geraniums, and in the distance a garden with trees. — 


Signed at the left. Height, 24 inches; width, 18 inches. 
141 
0 0 N CHARLES MELVILLE DEWEY, N. A. 
Moonlight 


A dark land with trees rising on the left, showing at the edge 
of their dark mass a soft pattern of trunks and foliage against the 
sky. On the right their branches, scantily clad with autumn 
leaves, reach nearly across the canvas, warm, against clouds lighted 
by the rising moon. The contour of the moon is obscured at top 
and bottom by the long lines of the clouds near the horizon. Directly 
below it are houses, dimly discernible, and in the foreground, water, 
lying in the cart ruts, reflects the light of the sky. 

Signed at the right. Height, 17 inches; width, 22 inches. 


142 
DAVID GAULD 


OQ. 
' 2 (Glasgow School) 


The Haunted Chateau 


Illustration 


In the foreground are trees with scant, autumn foliage. Beyond 
them a moat, and at the left an old stone bridge crossing it. At 
the right, through their slender gray trunks, one sees the gray 
walls and dull red roofs of the haunted chauteau. The sky is gray 
and the whole picture, beautifully composed in its arrangement of 
line and form, is a harmony of colored grays, becoming more definite 
in color on the roofs of the castle and in the green of the foreground. 

Signed at the right. Height, 16 inches; width, 24 inches. 


[ 102 ] 


my 


CA aL Bootes eee ac, 


DAVID GAULD: THE HAUNTED CHATEAU 


WILLIAM M. CHASE, N. A.: GIRL IN 
JAPANESE COSTUME 


143 Q 
WILLIAM M. CHASE, N. A. 4 


Girl in Japanese Costume 
Tilustration 


___A brown-haired, blue-eyed girl in a blue kimono with bright, 
red sash. She is seated a little to the right of the canvas and, 
fronting towards the left, is seen to the waist. The head, tipped a 
little to the right, is turned toward the spectator, the eyes looking 
out of the canvas. The background is simple, and against it the 
coloring of the head and the blue of the flowered kimono, its dashes 
of red supplementing the color of the sash, form a most agreeable 
combination.— From Thomas B. Clarke Collection. 
Signed at the left. | Height, 24 inches; width, 16 inches. 


144 


0. 
D. Y. MacGREGOR 3 / 


(Glasgow School) 
On the Stour 


A delicately colored picture of a Scotch landscape. In the 
humidity of the atmosphere the smaller details are lost and one 
sees only the soft shapes of the larger masses. In the distance a 
tower rises, breaking the horizon line, and coming down to the 
immediate foreground is the river, its light banks gleaming 
through the moist air, and its waters reflecting the blue sky. 

Signed at the right. Height, 153 inches; width, 204 inches. 


é 
145 0 Ae 
THOMAS SULLY l 


Study of a Woman’s Head 


A head of a young girl, slightly turned to the right. She wears 
a white head dress, from under which her brown hair, parted in the 
middle, curls at either side of her forehead. Her face, with blue 
eyes, fresh complexion, and full lips, is pleasant in expression and 
beautiful in color. Coming one day toa favorite pupil, at work from 
the model, Sully, sitting down, said, ‘Let me show you how to 


[ 107 ] 


fr etre 


> 


paint a head,” and completed at one sitting this charming portrait. 
He thereupon presented it to the student as a memento of his 
friendship. . It was from the pupil that Mr. Kurtz pa the 
picture. : 

Mr. Kurtz wrote this note regarding it: “Painted about 1845, 
in a single sitting — only the head approximately ‘finished.’ For 
freedom in handling and irae and purity of color an | unusual 
example of the painter’s wor 

Height, 20 aoe width, 17 Sha. . 


0 A: 146 = 
9 CARLETON J. WIGGINS, A. N. A. 


Evening — Street in the Village of Grez, France 
Illustration 


Under a most tender and luminous blue sky in which one feels 
the influence of the sunset, the street is in shadow except where the 
last rays of the sun linger upon the upper portions of the houses, 
the thatched roofs, chimneys and the gabled church tower. The 
soft contrast of the weak sunlight and the blue-gray shadowed 
ee is expressed with artistic feeling. One notes the truth of the 

“‘values”’ in this work, and must ade the exquisite harmony in 
its color. 
Signed at the left. Height, 20 inches; width, 26 inches. - 


: 147 
9. EASTMAN JOHNSON, N. ie 
| Winter 


Fronting the spectator with a frank expression is a young girl, 
holding in her right hand, which is bare, the rope of a sled which 
is a little behind her. Her cheeks are rosy, and her forehead is 
nearly hidden under her brown hair, which is cut straight across in 
a bang. She wears a dark hood, a light woolen cloud or muffler, 
and a dark green coat, its cape thrown back over her shoulder. 
Her left hand is mittened and her legs encased in gaiters, on which 
the snow shows in white patches. Behind her is a great bank of — 
snow forming a light background for her little figure, and beyond 


[ 108 ] 


SWEETEN 


he coe ee Cee 


CARLETON J. WIGGINS, A. N. A.: EVENING, VILLAGE OF GREZ, FRANCE 


*NOSUALVd SANVS 


NUIVA AILSVO 


i a at NT Oa Rr es 


DAVID ERICSON: THE MORNING OF LIFE (FRAGMENT) 


gl“ 9 et ates 


the snow bank, to the left, are people skating. At the top of the 
picture, in shadow, with here and there a patch of sunlight, is a 
hillside with trees. . 
Signed at the left. Height, 51 inches; width, 32} inches. 


148 a 


JAMES PATERSON 2 0 


(Glasgow School) 


’ Castle Fairn 
Tilustration 


A fine sweep of rolling country, partially wooded. In the dis- 
tance Castle Fairn on the edge of the hill. Above float great 
cumulus clouds, their colored grays beautiful against the delicate 
blue of the sky beyond. _ 

Signed J. P. at the right. Height, 18 inches; width, 36 inches. 


149 v] O 
PK M.REHN, AN. A. - % 


Glowing Sunset 
Illustration 


Back of the immediate foreground a large tree rises, its branches 
spreading across the top of the picture. Below the sky is yellow, 
changing to red at the horizon. At the right, on a stream that 
winds through a low, flat country, is a sailing barge, its mast and 
sails silhouetted against the sky. 

Signed at the right. Height, 12 inches; width, 16 inches. 


150 | 625: 


DAVID ERICSON 


** Morning of Life ’’ 
Tilustration 


-This picture was described by Mr. Kurtz in Academy Notes as 
follows: ‘‘‘Morning of Life’ represents an expanse of water under 
an early morning sky, with a portion of a rowboat in the immediate 
forespace, with a beautiful little flaxen-haired boy of about five 
years seated in the stern, looking wonderingly at something which 


ALETa) 


attracts his attention beyond the observer, at the right. The 
first rays of the rising sun — not very strong, coming through the © 
haze — touch the child’s face and illuminate the tousled hair. 
The little boy wears a white blouse and blue knee breeches, 
and the figure and costume represent only intensified notes of the 
delicate colors pervading the canvas. A small boat, tied to a stake 
rising from the water in the middle space, is painted as Whistler 
would have painted it. Away off in the far distance, at the left, is. 
dimly discerned the hull of a larger boat, giving a faint accent 
exactly where such an accent is needed. In the upper sky are 
drifting masses of rosy cloud and these are reflected in the ripples — 
of the water in the forespace. 

“In sentiment the painting is exquisite and appealing. te 
may imagine the child, just embarked on the voyage of life, regarding 
the world about him with wonder and with just a suggestion of 
timidity, yet expressing the unconscious joy of life without care or 
trouble; reflecting in his face the sunshine in his soul. — 

“The work is restful in feeling, refined, and harmonious in its 
soft, opalescent coloring. It is a picture to captivate at first sight 
and ‘to grow upon one’ as he comes to know it better.” Re ae 

Signed at the right. Height, 43 inches; width, 36 inches. 


O 151 ‘ 
2 Q THOMAS COUTURE 


Head of a Woman 
' Illustration 


* 


A beautiful commento The simple pattern of Liphi*s and aa. 
admirably arranged. The whole done in the very best manner of 
the painter of “‘Les Romans de la Decadence.” Mr. Kurtz in one 
of his articles describes this picture as follows: ‘This head, which 
represents a dark-eyed, dark-haired woman of perhaps thirty 
years, has the fine color and tone one is accustomed to find in the 
' work of the old masters. The view is three-quarter face turned to 
the left, the neck and shoulders bare except for the suggestion of a 
white chemise. There is a red ribbon in the hair. The eyes look 
straight at the observer and follow him. ‘There is strong character 
in the face which is said to be a portrait of the wife of Couture.” 

This picture is undoubtedly one of the finest examples in America 
of this master’s work. — From George I. Seney Collection. 

Initials at the left. Height, 21 inches; width, 17% inches. 


[ 118 ] 


THOMAS COUTURE: HEAD OF A WOMAN 


bay 


+ 


te 


152 0 
§ 
JOAQUIN SOROLLA Y BASTIDA O 
Playa de Valencia | 


_ In the foreground a beach, with a great rock at the right, and 
beyond the blue water of the sea, in which a group of children are 
bathing. 

; Signed at the left. Height, 53 inches; width, 10 inches. 


1538 ( g 
ANTON MAUVE b 

4 EN 
Sheep on the Dunes 


GO ane | Iilustration 


In the middle-ground a shepherd drives his flock to a narrow 
stream which finds its way among the sparsely grass-grown hum- 
mocks of sandy soil. The landscape stretches beyond to a far hori- 
zon, the line of which is broken at intervals by clumps of trees. 
Over all is a tender and very luminous sky. This picture was 
painted some years before the artist’s death, is unusual among his 
works for the exceptional strength and richness of its color. In 
this respect it resembles more the work of Troyon, than the usual 
work of Mauve — particularly the latest work. This picture was 
considered by the painter Artz as one of the finest productions of 
his friend; his admiration of it caused him to become its owner, 
and it was purchased from his widow shortly after the death of 
Mr. Artz. It is painted on a panel. 

Signed at the left. Height, 123 inches; width, 18% inches. 


7 Q 
154 4 7, 
R. MACAULAY STEVENSON 
(Glasgow School) 


Rhapsody 


A delicate and beautiful composition. Above a mass of trees 
at the right is the pale moon, its soft light diffused throughout the 
picture. In the center, tall trees rise gracefully, their upper branches 
reaching above the top of the canvas, their delicate trunks and 
foliage beautiful against the moonlit sky beyond. 

Signed at the right. Height, 204 inches; width, 124 inches. 


[ 123 ] 


EK. A. HORNEL 
(Glasgow School) 


f 0 155 


i 


Reverie 
Illustration 


“Reverie” painted at Kirkcudbright presents a tired — but not 
exhausted — child, lying stretched at full length on the beach, in the 
bright sunshine, free, careless, happy — beautiful! The joy of 
living beams from the bright eyes and sweet childish face. Such 
an expression is calculated to drive away the blues and to make 
even the suggestion of pessimism impossible. 

Signed at the left. Height, 303 inches; width, 364 inches. 


DuBOIS F. HASBROUCK 


bs: ie 


Morning in the Catskills 


A woodland scene with large trees, the distant ones bright in 
the morning light. Down a pathway, leading through the center 
of the picture, comes a woman with a little girl. 

Signed at the left. Height, 10 inches; width, 12% inches. 


D. Y. MacGREGOR 
(Glasgow School) 


5; a 


Study of Trees (Crayon) 


An interesting study of two large pine trees done in crayon on 

a tinted paper. Beyond them to the left, and seen through their 

lower branches, is a stream, with fields on the further bank and 
hilly country to the horizon. 
Signed and dated at the right. 


[ 124 ] 


; | 158 | 2), 
-DvuBOIS F. HASBROUCK | 


Autumnal Sunset After Rain 


A light clouded sky, brightest near the horizon. A little to the 
right, where the sun has set, the autumn trees show dark and warm. 
Just to the left of the center the gable roof of a house is visible, the 
smoke from its chimney blown southward toward a clump of trees. 
In the foreground, at the right, a stream reflects the trunks of the 
larger trees and the warm light of the sky. 

Signed at the right. Height, 14 inches; width, 20 inches. 


| 


LIST OF DRAWINGS TO BE SOLD AT THE CLOSE OF 


SECOND EVENING’S SALE OF PAINTINGS 


ARTIST 
Inness, George (deceased), 1883, 
Johnson, Eastman, 1883, 


Jones, Francis C., 1887, . . . 
Jones, Francis C., 1888, . . 
Koeher, Robert, 1885, 
Maynard, George W., 1887, 
Moran, Thomas, 1882, . 
Murphy, J. Francis, 1887, . 
Nicoll, J. C., 1885, ae 
Palinee. Walter L., 1888, 

Pauli, Richard ieeased), 1889, 


Quartley, Arthur (deceased), 1886, 


‘True oF WorK 


. A Summer Morning. 
. “And So He Married the 


Princess.”’ 


. The Unexpected Visitor. 

. The Favorite Grandchild. 

. The Socialist. 

. An Amateur. 

. The Pueblo of San Juan. 

. Neglected Lands. 

. A Summer Morning. 

. On the Bozen Kill. 

. A Breezy Day. 

. The English Channel Off 


Hastings. 
Rehn, F. K. M., 1883,. . Sundown, Gloucester Harbor. 
Post, Ernest C., 1885, . . Nightfall. 
Richards, William T., 1889, . High-Tide. 
Sarony, N., . The Vase. 


Schilling, Alexander, 1: 1887,. 


Schilling, Alexander, 1889,. 
Shurtleff, R. M., 1883, 
Stark, Otto, 1888, 
Tyler, James G., 1887, . 
Ulrich, Charles F., 1884,. 


Volk, Douglas, 1882, . 


. Midsummer on_ the 


Aux 
Plaines. 


. After a Shower. 

. In the Wild Wood. 

. The Farmer’s Boy. 

. The Fortunes of War. 

. Study Head from “‘The Land 


of Promise.”’ 


. “Just One Year Ago.” 
aed 


ARTIST 
Walker, Horatio, 1888, . . . 
-Woodbury, Charles H., 1887, . 
Ochtman, Leonard; -..4 (|) ae 
Blakelock, Ralph A., . oe 
Eaton, C. ‘Harry, eae 
Dewey, Charles Melville, 
Brenner, Carl C., 
Melchers, Gari J., 
Davidson, JOR Ss 
Butler, Monard: Russell, 
Parton, Arthur, 
Melchers, Gari J.,. . . 
Chapman, Carlton T., 1888, 
Gay, Edward, 1888, ‘i 
McCord, G. H.,. 
Chase, Harry, . 


Fitler, W. C., 
amen Long sian ¥: 
Brown, J. G., 1885, . . . . . . . The Monopolist. = 
Parton, Ernest, 1885,. ......A Wooded Vale 
z went, Derbyshi 
Ward, Edgar M., 1886, . . . . . . The Blessing. ie 
Curran, Charles C.,. . . . .. . . A Pumpkin Fie 


[ 128 ] 


GRAPHICAL = 


+ 


‘ 


BIOGRAPHICAL 


DAVID ADOLF CONSTANT ARTZ 


ORN, The Hague, Holland, 1837; died, 1891. Pupil of 
- the Amsterdam Academy, and of*Mollinger and Israels. 
Bronze medal, Vienna, 1873; honorable mention, Salon, Paris, 
1880; gold medal, International and Colonial Exposition, 
Amsterdam, 1883. Vice-president of the International Jury of 
Award, Exposition Universelle, Paris, 1889. Knight of the 
_ Oaken Crown, 1879. Chevalier of the Legion of Honor, 1889. 
Member of the Société Nationale des Beaux Arts, Paris. — 
-“Yike Israels, he is interested in human character and 
sentiment, and like Israels, he has sought and found his material 
in the types and circumstances of his native environment. 
_ At his best, he is a good craftsman, with a real gift of color, 
feeling for light and air, and that directness of touch which 
marks the painter.” — W. E. Henley. 


. MISS L. C. ATKINSON 


ISS ATKINSON’S flowers have that crisp vitality which 
is the subtle charm of successful painting of this class of 
still-life. —Chicago Graphic, 1892. 


GEORGES BELLENGER 


EORGES BELLENGER was born at Rouen, 1847; died, 

1883. <A strong painter of landscape, genre, etc. Pupil 
of L. de Boisbaudran and Jean Paul Laurens. Exhibited in 
the Salon of 1880. 


HILDA BELCHER 


Hes BELCHER is one of the younger New York artists 
who has won much favorable notice recently, taking the 
Beal Prize for her picture, ‘Young Girl in White,” at the New 


bey 


York Water Color Club exhibition of 1909. Her BF i anata é 
Mr. Kurtz’s attention in the American Water Color Society — | 
exhibition of 1907, when he purchased her picture ou Sibyl.” af is 


sha 4 


RALPH ALBERT BLAKELOCK 


ALPH ALBERT BLAKELOCK was born in New York, on 
1847. Self-taught, he is recognized as one of the ue. a 

individual and talented of our native landscape artists,and his 
pictures have been acquired by the most discerning of our 
connoisseurs. Represented in the George A. Hearn Collection, 
in the Metropolitan Museum of Art, New York. Honorable 
mention, Paris Exposition, 1900. 

“His pictures are vibrant with a strange and penetrating 
charm of chromatic harmony. His color is as original and 
positive as are the theories which his art illustrates, and the 
strong individuality of. the man impresses itself upon every 
manifestation of his art.’”’— Catalogue ot the T. B. Clarke Col- — 
lection. . | 


GEORGE H. BOGERT, A. N. A. 


Boks New York, 1864. Pupil of National Academy of 

Design, Puvis-de-Chavannes, Aimé Morot, and E. Boudin 
in Paris. Honorable mention, Pennsylvania Academy of the 
Fine Arts, 1892; Webb Prize, Society of American Artists, 
1898; first Hallgarten Prize, National Academy of Design, 
New York, 1899; bronze medal, Paris Exposition, 1900; silver 
medal, Pan-American Exposition, Buffalo, 1901; gold medal, 
American Art Society, 1902; silver medal, St. Louis Exposition, - 
1904. His painting, “From St. Ives to Lelant,” purchased for 
the St. Louis Museum of Fine Arts, 1895. Also represented in 
the permanent collection of the Albright Art Gallery, Buffalo, 
and in the George A. Hearn Collection at the Metropolitan 
Museum of Art, New York. 


Pesos 


_M. DE FOREST BOLMER 


DE FOREST BOLMER was born at Yonkers, N. Y., 

* 1854. Studied in Paris and Munich. Was made a mem- 
ber of the Salmagundi Club in 1904. He is a landscape painter, 
_ who has been a close student of nature, preferring to interpret 
her quiet moods. Many of his most successful pictures have 
represented the close of day. 


JOSEPH H. BOSTON, A. N. A. 


| QSErB H. BOSTON, A. N. A. Born, Bridgeport, Conn. 
Awarded a bronze medal at the Pan-American Exposition, 
Buffalo, 1901. Member of Society of American Artists, New 
York, Salmagundi Club, New York, associate of the National 
Academy of Design, New York, and Brooklyn Art Club. 


J. B. BOTTO 


J.B: BOTTO. Born at Louisville, Ky. Pupil of Alexander 
* Defaux, Paris. For many years he has lived in Paris. 


CARL C. BRENNER 


ues C. BRENNER. For many years a resident of Louis- 
ville, Ky. Born at Lauterecken, Rheinpfalz, Bavaria, 1838 ; 

died about 1890. Pupil of Professor Philip Frolig. First 

exhibited, 1876, at the Centennial Exposition, Philadelphia. 


JOHN B. BRISTOL, N. A. 


OHN B. BRISTOL, N. A. Born, Hillsdale, N. Y., 1826. 
Died in New York, 1909. Without instruction or aid, began 
as a painter of figures and portraits, later becoming a landscape 


[ 133 ] 


painter. Medal, Centennial nicpoaition Philsdelhaee 1876: Fee 
honorable mention, Paris Exposition, 1889; bronze medal, 


Pan-American Exposition, Buffalo, 1901. ‘Member 0h the: a 


National Academy, New York, since 1875. : ~ 

“Mr. Bristol’s pictures, although simple in their elerients ; 
and quiet in their intention, always delight by their geniality ie 
and optimism. He sees Nature as a friend and paints her with 


affection. He never dazzles nor surprises, for such is not the — 


purpose of such self-contained and self-respecting work. His © 
New England hills and lakes, his fertile plains with white 
villages cozily nestled among them, his slumbrous airs and 
warm skies are things that could pertain to no other land than 
ours. In our restless day, we need just the calm and health 
that are breathed in art like this.”— Charles M. Skinner, Brook- 
lyn Eagle, November 17, 1897. 


CHARLES LIVINGSTON BULL 


HARLES LIVINGSTON BULL. Born, New York State, 

1874. Pupil of Harvey Ellis and M. Louise Stowell. Mem- 

ber of New York Water Color Club and the Society of Illus- 
trators. 


JOHN W. CASILEAR, N. A. 


OHN W. CASILEAR, N. A., born at New York, June 25, 
1811; died in 1893. Tanda painter. Studied in Europe, 
1840, aa again in 1857. Elected an associate of the National 
Academy in 1835, and academician in 1854. Among our earlier 
landscape painters he held a most honored place. The Art 
Journal, January, 1876, says: “‘Casilear’s work is marked by a 
peculiarly silvery tone and delicacy of expression, which is in 
pleasant accord with nature in repose and of his own poetically 
inclined feelings. * * * His pictures, when sent from the 
easel, are as harmonious as a poem, and it is this perfect serenity 
in their handling which is so attractive to connoisseurs.” 


[ 134 ] 


| WILLIAM N. CHASE, N. A. 


ORN, Franklin, Ind., 1849. Pupil of B. F. Hayes in Indian- 

' apolis; J. O. Eaton and the National Academy, and L. E. 
Wilmarth in New York, and of Wagner and Piloty, Munich. 
Medal, Centennial Exposition, Philadelphia, 1876; honorable 
mention, Salon, Paris, 1881; honorable mention, Munich, 1883; 
silver medal, Exposition-Universelle, Paris, 1889; first prize, 
- Cleveland Art Association, 1894; Shaw Prize ($1,500), Society 
of American Artists, 1895; gold medal of honor, Pennsylvania 
Academy of the Fine Arts, 1895; gold medal, Exposition-Uni- 
verselle, Paris, 1900; Temple Gold Medal, Pennsylvania Acad- 
emy of the Fine Arts, 1901; gold medal, Pan-American Expo- 
sition, Buffalo, 1901; gold medal, Charleston Exposition, 1902. 
Member of the International Jury of Award, World’s Columbian 
Exposition, Chicago, 1893; member of the Jury of Selection- 
United States Section, Department of Art, and of the Inter- 
national Jury of Award, Universal Exposition, St. Louis, 1904. 
Member of the National Academy, the American Water Color 
Society, ‘The Ten” American Painters, the New York Etching 
Club, the Pastel Society, the International Society of Sculptors, 
Painters and Gravers, London, The Circle of Twenty, Brussels, 
and corresponding member of the Secession, Munich; Knight 
of the Order of St. Michael of Bavaria. Represented in the 
Metropolitan Museum of Art, New York; Pennsylvania Acad- 
emy of the Fine Arts, Philadelphia; Chicago Art Institute; 
St. Louis Museum of Fine Arts, and Carnegie Institute, Pittsburg. 


THOMAS COUTURE 


aes COUTURE was born at Senlis (Oise), 1815; died, 

1879. Pupil of Gros and of Paul Delaroche. Although he 
won the second grand prix in 1873, and attracted attention by~ 
several notable works within the next decade, it was not until 
1847 that he became celebrated as a great painter by his 
‘Romans of the Decadence,” “a picture which, in the united 
qualities of conception, composition, drawing, and color, has 


[ 135 ] 


few if any equals in modern art.” His technical skill and great 
reputation attracted to him many distinguished pupils, among 


whom were Puvis-de-Chavannes, William M. Hunt, and John Re 


LaFarge. He was selected by Napoleon III. to paint a ceiling © 
for the Louvre, representing the birth of the Prince Imperial, 
but, differing with the empress concerning the drapery of the ~ 
child, he rejected the commission, became hostile to the govern- 
ment, and seldom, thereafter, sent pictures to the Salon. He 
received medals at the Salon: third class, 1844; first class, 
1847 and 1855. Was made Chevalier of the Legion of Honor, — 
1848. He was a painter of great strength, of fine color and — 
tone, and exerted a great influence upon the art and artists of 
his time. 


CHARLES LOUIS COURTRY 


HARLES LOUIS COURTRY, born at Paris. Pupil of L. 

Gaucherel and Leopold Flameng. Medals, Salon, Paris, 
1868; 1874 (third class), 1875 (second class); medal of honor 
(for engraving), 1887. Gold medal, Exposition-Universelle, 
Paris, 1889. Legion of Honor, 1881. Courtry’s reputation has 
been made by his etchings, but his few paintings are highly 
esteemed, especially for their fine color. 


CHARLES H. DAVIS, N. A. 


ORN, Amesbury, Mass., 1856. Pupil of Otto Grundmann — 

and the Boston School of Fine Arts, and of the Julian 
Academie under Boulanger and Lefébvre, Paris. Gold medal 
at Competitive Prize Fund Exhibition, New York, 1886; hon- 
orable mention, Salon, Paris, 1887; $2,000, cash prize at Prize 
Fund Exhibition, New York, 1887; silver medal, Exposition- 
Universelle, Paris, 1889; Potter Palmer Prize, Art Institute, 
Chicago, 1890; medal, Mechanics’ Institute, Boston, 1890; 
medal, World’s Columbian Exposition, Chicago, 1893; gold 
medal, Atlanta Exposition, 1895; bronze medal, Exposition- 
Universelle, Paris, 1900; Lippincott Prize, Pennsylvania. 


[ 136 ] 


Academy of the Fine Arts, 1901; silver medal, Pan-American 
Exposition, Buffalo, 1901; Second Corcoran Prize, Society of 
Washington Artists, 1902; silver medal, Universal Exposition, 
St. Louis, 1904. Member of the National Academy, and vice- 
president of the Copley Society, Boston. Represented in 
Metropolitan Museum, New York; Pennsylvania Academy of 
the Fine Arts, Philadelphia; Corcoran Art Gallery, Washington ; 
Chicago Art Institute; Public Gallery at Omaha, Neb.; St. 
Louis Museum of Fine Arts, and Public Gallery at Hartford, 
Conn. 


M. F. H. DE HAAS, N. A. 


ORN, Rotterdam, Holland, 1832; died in New York in 

1895. Pupil of the Academy of Fine Arts, Rotterdam, 
and of Louis Mayer at The Hague. In 1857, was appointed 
Artist to the Dutch Navy. In 1859, he came to New York, 
where he resided until his death. Medal Centennial Exhibition, 
Philadelphia, 1876. Medals also at Boston and Cincinnati. 
Honorable mention, Exposition-Universelle, Paris, 1889. Elected 
an academician in 1867, and was one of the founder members of 
the American Water Color Society. He was one of the most 
distinguished of American Marine Painters, and whether he 
portrayed a storm -at sea or a sunset, his brush was equally 
facile. | 


ADELAIDE DEMING 


DELAIDE DEMING was born at Litchfield, Conn., Decem- 
ber 12,1864. She was a pupil at the Art Students’ League, 
New York, Pratt Institute, Brooklyn, William M. Chase, W. L. 
Lathrop, and Henry B. Snell. She was made a member of the 
New York Women’s Art Club, 1908, and for her picture, ‘“‘Moon 
Shadows,” received the Beal Prize at the New York Water 
Color Club, 1908. The recent exhibition of her work at 
_ Pratt Institute, Brooklyn, N. Y., received much favorable 
notice. 


aves 


CHARLES MELVILLE DEWEY, N. Ane Sa 
ORN, Lowville, N. Y., 1851. Silver medal, Pan! Aenea 


Exposition, Buffalo, 1901; silver medal, Universal Expo- Se 


sition, St. Louis, 1904. Meche: of the National Academy and 
of the American Water Color Society, New York. —~ . 

“He stands in the group of American landscape Ati 
whose works are cherished for their poetical insight, and his. 
piggies once taken home and lived with are reluctantly given 
up.”— (Catalogue of William T. Evans’ collection. di 


W. DE LEFTWITCH DODGE 


ORN, Liberty, Va. Studied in Munich and Paris. Was 

awarded third medal in the Concours d’Atelier under 
Gerome, Paris, 1866, and honorable mention and third medal 
for drawing in the Cours Yvon, 1887. Prix d’Atelier, 1888. 
Was awarded a gold medal at a competitive Prize Fund Exhi- 
bition, New York, 1886, for his painting, ‘‘ Minnehaha.” Medal, 
World’s Columbian Exposition, Chicago, 1893. Painter of 
decorative subject in the dome of the administration building, © 
World’s Columbian Exposition, Chicago, and one of the deco- 
rators of the Congressional Library, Washington, D. C. 


A. VAN CLEEF DODGSHUN 
epee Jersey City, New Jersey. Pupil of George H. Smillie, 


J. H. DOLPH, N. A. ie 


ORN, Fort Ann, New York, 1835; died, 1903. Pupil of 
Louis Van Kuyck, Antwerp. Elected associate of the 
National Academy of New York in 1877, and academician in 
1899. Awarded a bronze medal at the Pan-American Exposi- 
tion, Buffalo, 1901. He was a most versatile artist who won 
fame as a painter of portraits, genre, and animals. However, 


[ 138 ] 


it was as a painter of cats that he was most successful, portray- 
ing them in every conceivable position, with affectionate under- 
_ standing and naturalness. 


EDWARD DUFNER 


Pons, Buffalo, N. Y. Pupil of Jean Paul Laurens and 

James McNeill Whistler, Paris, and studied in Madrid. 
Albright scholarship, Buffalo, 1893; First Wanamaker Prize, 
Paris-American Art Association, 1899; bronze medal, Pan- 
American Exposition, Buffalo, 1901; Fellowship Prize, Society 
of Artists, Buffalo, 1904; silver medal, Universal Exposition, 
St. Louis, 1904. Prize, American Water Color Society, New 
York, 1909. Member of the Paris-American Art Association. 
Studio now in New York. : 


‘DAVID ERICSON 


BoEN in Sweden, 1870. Pupil at the Art Students’ League, 

New York, and later studied in Paris, under Whistler, 
Prinet, and Fremiet. He was accorded honorable mention at 
the Carnegie Institute, Pittsburg, 1903, and a silver medal at 
the Universal Exposition, St. Louis, 1904. Has exhibited at 
the National Academy of Design and the Society of American 
Artists, New York; the Pennsylvania Academy of the Fine 
Arts, Philadelphia; the Corcoran Gallery of Art, Washington, 
D. C., and at the Salons in Paris. He is a member of the 
Paris-American Art Association, the Buffalo Society of Artists, 
and is a charter member of the Minnesota State Art Commission. 


CHARLES WARREN EATON, N. A. 


Bo Albany, N. Y. Pupil of the National Academy and 

the Art Students’ League, New York. Honorable mention, 
Exposition-Universelle, Paris, 1900; Proctor Prize, Salmagundi 
Club, New York, 1901; honorable mention, Pan-American 


[ 139 ] 


Exposition, Buffalo, 1901; silver medal, Charleston Exposition, 
1902; Inness Prize, Ee oy Club, 1902; Shaw Prize, 
Salmagundi Club, 1908; gold medal, Philadelnhian Art. Club. in 
1903; silver medal, Universal Exposition, St. Louis, 1904. 
Menbes of the National Academy, American Water Color | 

Society, and New York Water Color Club. Represented i in the | 
Boston Art Club, Philadelphia Art Club, Brooklyn Institute of 
Art and Sciences, and Winona, Wis., Public. ame 


AUGUST FINK 


UGUST FINK, Munich, Bavaria. Member of the Society ; 
of Munich Artists. 


WILLIAM FORSYTH 


ORN, Hamilton County, Ohio. Pupil of Royal Academy 
in Munich under Loefftz, Benczur, Gysis, and Lietzenmeyer. — 
Medal, Munich, 1885. Silver medal for water color and bronze 
medal for oil at the St. Louis Exposition of 1904. Member of 
Society of Western Artists and Art Association of pee 
Studio at Indianapolis. ae 


GUILLAUME ROMAIN FOUACE 


ORN, Reville (Manche), France; died, 1895. Pupil of 

Yvon. Honorable mentions: Salon, Paris, 1884, and 
Exposition-Universelle, Paris, 1889. Third class medal, 1891. 
Member of the Société des Artistes Francais. Simple, modest, 
and retiring of disposition, he was lacking in that initiative 
necessary to obtain worldly success; and, not until after his - 
death, was he accorded the place of eminence he so justly 
deserved among the painters of still life. The son of French 
peasants, he was given the eye and hand of an artist, and at an 
early age began to draw everything he saw. Although pre- 
éminent as a painter of still life, especially of juicy fruits and — 
vegetables, he won success as a marine and landscape painter. 
He painted freely and solidly without finesse but with a tranquil 
vigor, 


[ 140 ] 


DAVID GAULD 
(Glasgow School) 


TN range of subjects, as well as in the variety of his mediums 

and purposes, Mr. Gauld is remarkably versatile. He has 
painted in oils and water colors, has produced many admirable 
black-and-white drawings and has done excellent work in 
stained glass. Mr. Gauld is comparatively self-taught, though 
he has enjoyed the opportunity of studying the works of the 
masters at home and abroad. His earlier work was devoted 
mainly to figure compositions and portraits with landscape or 
foliage backgrounds; later, he painted landscapes in France 
with much the feeling of Puvis-de-Chavannes. To-day, he 
paints principally landscapes with cattle. His color always is 
fine and his technique is simple and adequate. 


H. GORDON GRANT 


ORN, San Francisco, Cal., 1875. He is now a resident of 
New York. Pupil of Lambeth School, London. Member 
of the Salmagundi Club. 


JOHANNES GRIMELUND 


ipnee , Christiana, Norway. Pupil of Hans Gude. Awarded 

a third-class medal, Salon, Paris, 1888; bronze medal, 
Exposition-Universelle, Paris, 1889. Was made Chevalier of 
the Legion of Honor, 1892. 


C. C. GRISWOLD, N. A. 


ORN in Ohio. Studied wood-engraving in Cincinnati. In 
1851, he opened a studio in New York. He was elected 
associate of the National Academy, 1866, and member of the 
Academy, 1867. For some years he resided in Italy, where he 
painted some of his best pictures. 


[ 141 ] 


SIR JAMES GUTHRIE, P. R. S. ‘A ; 
ORN in Greenock, Scotland James Guthrie cue Bye : 


artistic talent. For some years he lived in London and > ry A 
came much in contact with John Pettie, R. A., from whom he ~ a 


received advice; subsequently he studied in eects He received — 


honorable eae at the Salon, Paris, 1889, and a gold medal. po a 
in 1891. He also has been awarded medals at exhibitions in — aa 


Munich and Berlin. He was early made a member of the Royal ai 
Scottish Academy, and in his thirty-ninth year was made its : 


president. He is a member of the Royal Scottish Water Color 
Society, the Société Nationale des Beaux-Arts, Paris, and an | : 


honorary member of the Bavarian Royal Academy, Munich. — 
Mr. Guthrie always has a scholarly and dignified conception of 
what is before him. Whatever he does, he does well, but in 
his pictures he goes beyond that, for he conveys a depth of 
thought and grasp of character which reveal far more than 
mere accomplishment. Both in portraiture and landscape this 
powerful characterization is apparent. His technique is broad, 
simple, and most competent. His unerring touch, fresh, pure — 
color, and the decorative quality involved in his work, both in — 
line and mass, combine to effect results not peli by the 7 
efforts of any other living painter. 


CHARLES J. HAGBERG 


ORN, Stockholm, Sweden. Pupil of Spangeberg, Frankfort, 
Germany. Studied also in Venice. Painted for several 
years in California. 


J. WHITELAW HAMILTON 


Bo in Glasgow, Mr. Hamilton studied for a time in his 

native city and, later, in Paris, under Dagnan-Bouveret 
and Aimé Morot. He has achieved success both in oils and 
water colors, and is represented in many important public and 
private collections, including the New Pinakothek, Munich; 


[ 142 ] 


the Municipal Gallery of Weimar; the Museum of Fine Arts, 
St. Louis; the Carnegie Institute, Pittsburg, and the collection 
of Queen Margherita, of Italy. He is a member of the Royal 
Scottish Society of Painters in Water Colors; corresponding 
member of the Secession, of Munich; associate of the Inter- 
national Society of Sculptors, Painters, and Gravers, London, 
and member of the Society of Twenty-five English Painters. 

_ “He has developed a fine sense of the use of paint to express 
his motif, whether it be the beautiful effect of a landscape 
ablaze with sunlight, or the more reticent one of a stretch of 
moorland under an expanse of cloudy, gray sky, in a treatment 
of sea and shore, or in the movement of a busy street scene. 
His color always strikes a true note, being decorative without 
any straining after peculiarity of contrast or oddity of effect. 
* #& %* Every picture he paints is artistic; nothing from his 
brush is commonplace or uninteresting.” — The Glasgow School 
_ of Painting, by David Martin. 


ELIZABETH R. HARDENBERGH 


XHIBITED in United States Section Art Department, 

“ Universal Exposition, St. Louis, 1904, and since then in 

water color exhibitions at the St. Louis Museum of Fine Arts 

and at the Albright Art Gallery, Buffalo. Studio now in New 
York. 


DU BOIS F. HASBROUCK 


ety Ulster County, New York, 1860. Self-taught. First 

exhibited, 1884, at the National Academy, New York, and 
for many years following his landscapes of characteristic Cats- 
kill scenery attracted much attention in the annual Academy 
exhibitions. His pictures show keen observation, combined 
with a tenderly sympathetic and enthusiastic enjoyment of 
Nature in her varying moods. His studio is in the Catskills, 
where he is surrounded by the scenery which he so charmingly 
portrays. 


[ 143 ] 


CHILDE poise ies N. A. 


ORN, Boston, 1859. Studied in Boston, nae ee a ee 
langer and Lefébvre, Paris. Bronze medal, Exposition- — 
Universelle, Paris, 1889; gold medal, Munich, 1892; gold 
medal, Philadelphia Art Club, 1892; medal, World’s Columbian. 
Exposition, Chicago, 1903; prize, Cleveland Art Association, 


1893; Webb Prize, eee of American Artists, 1895; prize, _ — 
Bost Art Club, 1896; medal, Carnegie Institute, Pittsburg, a 


1898; Temple Gold Medal, Pennsylvania Academy of the Fine _ 
Arts, Philadelphia, 1899; silver medal, Exposition-Universelle, — 

Paris, 1900; gold medal, Pan-American Exposition, Buffalo, 
1901; gold medal, Universal Exposition, St. Louis, 1904; 
Thomas B. Clarke Prize, National Academy, 1905; gold medal, 
Carnegie Institute, Pittsburg, 1905; Carnegie Prize, Society of 
American Artists, 1906; Walter Lippincott Prize, Pennsylvania 
Academy of the Fine Arts, 1906. Member of the National 
Academy; American Water Color Society; New York Water 
Color Club; ‘‘The Ten” American Painters; associate of the — 
Société Nationale des Beaux Arts, Paris; and corresponding — 
member of the Secession, Munich. Represented in Carnegie 
Institute, Pittsburg; Cincinnati Art Museum; Boston Art Club; 
Corcoran Gallery of Art, Washington, D. C.; Pennsylvania 
Academy of the Fine Arts; Telfair ‘headers Savannah, 

Georgia, and Buffalo Fine wee Academy. 


ADOLPHE LOUIS HERVIER 


ORN in Paris, 1871; died, 1879. Studied under Eugene 

Isabey and was a pupil and friend of Theodore Rousseau. 
He etched several plates of landscape and marine subjects. 
The International Studio for February, 1909, says: “At the 
exhibition of the Société Internationale des Aquarellistes M. 
Maurice Guillemot, the president of this interesting association, 
had the idea of doing homage to Hervier by organizing a special 
exhibition of his work. Nothing could have been more praise- 
worthy, for Hervier, who died obscurely in 1879, was one of the 
masters of water color in the nineteenth century. * * * 


[ 144 ] 


“Though, in his life time, Hervier failed to win success 
among collectors and dealers, and though his works were not 
acquired by our Art Galleries, as was the case with those of 
many of his contemporaries, this charming artist yet had his 


. admirers, both famous and far-seeing.” * * * 


Baudelaire, who, from the very first, understood Meryon, 
_ Fantin, Whistler, and Guys, was fond of Hervier, of whom 
Theophile Gautier wrote that he was eereey inferior to 
Theodore Rousseau.” | 


ELEANOR A. HOLMES 5 
pipes 


Boks, Columbus, N. Y. Pupil of H. F. Spead and Annie C. 

Shaw, Chicago. ‘‘ Miss Holmes shows in all her work that 
intimate knowledge of nature and deep love for it which pre- 
cludes the possibility of at any time painting merely to show 
her skill, or, indeed, for any reason but to faithfully interpret 
that which has appealed to her as worthy of interpretation.”— 
Chicago Graphic, 1891. 


EDWARD A. HORNEL 
(Glasgow School) 


Born at Bacchus Marsh, in Australia, but at an early age 
was brought to Scotland, the land of his parents, who 
settled in the picturesque town of Kirkcudbright, where he now 
has his studio. He went to Edinburgh in 1880, and entered 
the art school there. Later, he went to Antwerp and entered 
the atelier of Verlat, with whom he studied for two years. 
After leaving Antwerp, Mr. Hornel returned to Kirkcud- 
bright, where he painted landscapes and figure compositions. 
He found material for his fast-developing powers and sym- 
pathies among the field workers in the pastures and woodlands 
surrounding his home, and in the rustic children playing by | 
river bank and hedgerow — inspirations for many charming 
_ pictures, instinct with moving color almost riotous in its bril- 
lianey. His pictures from the first attracted great attention. 
During the eighteen months Mr. Hornel spent in Japan, he 
painted between forty and fifty pictures — wonderful, glowing 


[ 145 ] 


works full of the influence of the country, full of its charm, 
yet unlike any product of Japanese art, or, indeed, the art of 
any other country or painter. Ignoring the long-established, 
artistic conventions, Mr. Hornel simply set out to paint com- 
positions in color — based upon the suggestions he obtained 
from nature but worked out in accordance with the impulses of — 
his exuberant passion for color. He did not, and does not, 
work from the standpoint of the conventional painter of pic- 
tures, but rather from that of the weaver of rugs, the designer — 
of jeweled glass or mosaics. Beauty of color and its infinite 
combinations is the chief aim of his expression. 

Despite the storm of controversy aroused by the exhibition 
‘of Mr. Hornel’s Japanese pictures, every work in the collection 
was sold, and the artist’s work was in greater demand than 
ever before. He painted no more Japanese subjects, but, 
returning to Kirkcudbright, resumed the painting of landscapes, 
principally with figures of children at play. His pictures have 
been purchased for the Royal Scottish Academy, Edinburgh; 
the Corporation Gallery, Glasgow; the Corporation Galleries at 
Leeds, Bury, and Bradford; the Walker Art Gallery, Liverpool, 
and the Albright Art Gallery of Buffalo. He is represented 
also in the collection of Mr. Andrew Carnegie. 


GEORGE HOUSTON 
(Glasgow School) 


EKORGE HOUSTON is one of the younger artists whose 

work has come into relationship with “the Glasgow move- 
ment.’”’ For several years he has held a prominent place in 
Glasgow as a newspaper artist, but during that period he has 
embraced every opportunity to work in color directly from 
nature, out-of-doors. His work is suggestively realistic, broad 
and simple in technique, and truthful in color. He has been 
represented in the most prominent exhibitions in Great Britain 
during the past few years, his pictures receiving much favorable ~ 
comment in the recent Royal Academy exhibitions. His 
“Ayrshire Landscape” was purchased for the Corporation 
Gallery, Glasgow, 1904. 


[ 146 ] 


THEODOR HUMMELL 


BORN at Schliersee, 1864. Pupil of Professor von Loefftz. 
Awarded medals at Barcelona, Paris, Chicago, and Berlin. 
Member of the Secession, Munich. Represented in the Museum 
of Barcelona, Spain. 


ELIZABETH C. HUNTER 


DORN in California. Member of the New York Water Color 
~ Club and New York Woman’s Art Club. Her studio is in 
New York. . 


| 


DAVID JOHNSON, N. A. 


Roee: New York, 1827. Pupil of J. F. Cropsey. Mainly 

self-taught. Medal, Centennial Exposition, Philadelphia, 
1876; medal, Massachusetts Charitable Mechanics’ Association, 
Boston, 1878. Member of the National Academy since 1861; 
and Artists’ Fund Society, New York. He is a landscape 
painter, notable for fine color and excellent drawing. 


~ EASTMAN JOHNSON, N. A. 


Bo at Lovell, Maine, in 1824; died, 1906. Pupil of Pro- 
~— fessor Lutze, in Dusseldorf, and also studied at The Hague 
and Paris. He was one of the best known and most successful 
of American portrait painters and was equally well known as a 
painter of genre. His work in this field always possesses fine 
color quality and realizes with sympathetic feeling the spirit of 
his subject. He was elected a National Academician in 1860 
and received a medal for his work exhibited at the Paris Expo- 
- sition of 1889. He was a member of the Society of American 
Artists. In the quaint region of his summer home on the 
Island of Nantucket he found many interesting subjects for 
his brush. 


[ 147 ] 


HARVEY JOINER 


ORN, Charlestown, Indiana, 1852. Member of the Louis- — 
ville Art League. Self-taught. His pictures are mostly 
_ landscapes. Sige 


FRANCIS C. JONES, N. A. 


ORN at Baltimore, Md., 1857. Studied in l’Ecole des Beaux — 

Arts, Paris, in the studio of Lehmann; later, under Bou- 
langer, Lefébvre, and Yvon. Awarded the Clarke Prize at the 
National Academy, New York, 1885; silver medal, Pan- 
American Exposition, Buffalo, 1901. Member of the National 
Academy, the Society of American Artists, the American Water 
Color Society, the New York Architectural League, and the 
Society of Mural Painters. Member of the Jury of Selection 
for the United States Section of the Department of Art, Louis- 
iana Purchase Exposition. 


LEE LUFKIN KAULA 


ORN at Erie, Pa. Pupil of Charles Melville Dewey in New 
York, and Colarossi Academy and Aman-Jean, Paris. 
Medal, Colarossi Academy, Paris, 1897. 


LENA KENNEDY 
(Glasgow School) 
[es A KENNEDY (Mrs. William Kennedy) has her studio in | 
Glasgow, Scotland. Her pictures are painted in a free, 
simple manner, are fine in color, and are imbued with refined 
poetic feeling. 


[ 148 ] 


WILLIAM KENNEDY 
(Glasgow School) 


ILLIAM KENNEDY is a West of Scotland man who has 
_"*" had the advantage of a thorough artistic training. He 
studied in Paris, first under Bouguereau and Tony Robert 
Fleury and, later, under Bastien-Lepage, Collin, and Courtois. 
In his pictures he has ever sought for the realization of an ideal. 
While his works have the effect of having been painted with 
perfect ease and spontaneity, they present evidence to the 
- critical student that they are the result of much serious study 
and close observation. The tonality of his work is always fine, 
whether he paints in a high or a low key. Correctness of tone, 
rightness of “values,”’ and fullness in color-scheme are felt in 
all his productions. 
_ Mr. Kennedy has painted landscapes, figures, and has suc- 
cessfully introduced animals into his pictures. For some time 
_he devoted himself almost entirely to the painting of scenes of 
military life, maintaining a studio at Stirling Castle, where a 
garrison is quartered. His pictures of the highland soldiery in 
their brilliant uniforms were most effective and successful. 
Mr. Kennedy, however, found himself drawn to resume the 
painting of landscapes, and during the last few years, has found 
several picturesque localities in the south of England, which 
have furnished him subjects for some of his most artistic pro- 
ductions. _ 7 
When, for a time, the men of the Glasgow art movement 
were united in a formal organization, Mr. Kennedy was . 
elected president of the society. 


J. F. KENSETT, N. A. 


ORN, Cheshire, Conn., 1818; died, 1873. For many years 
a resident of New York. Studied bank-note engraving in 
his youth and practiced painting in his leisure hours. Exhibited 
at the: Royal Academy, London, in 1850, a picture which 
attracted favorable criticism. Mr. Kensett spent seven years 


[ 149 ] 


abroad, painting in Rome, Naples, Switzerland, Germany, etc. é 
Elected member of the National Academy, New York, 1849. — 
One of the best-known landscape painters of the last generation. 


AUGUSTUS KOOPMAN 


ORN, Charlotte, N. C., in 1869. He studied at the Penn- 
sylvania Academy of the Fine Arts and at l’Ecole des Beaux _ 
Arts, and under Bouguereau and Robert-Fleury, Paris. Awarded 
the Second Wanamaker Prize by the Paris-American Associa- 
tion in 1898, and the First Clarke Prize by the same in 1899. 
He received a bronze medal and special silver medal for decora- 
tion at the Paris Exposition of 1900. Bronze medals, Pan- 
American Exposition, Buffalo, 1901, and Universal Exposition, — 
St. Louis, 1904. 


JONAS LIE_ 


ORN in Norway, 1880. Pupil of National Academy of | 

Design and Art Students’ League, New York. Awarded 
silver medal by Universal Exposition, St. Louis, 1904. He is 
one of the most sincere and vital of the younger artists. 


LUIGI LOIR 


ORN, Goritz, Austria, of French parents. Pupil of the 
School of Fine Arts at Parma, Italy, and of Pastolet. His 
home was in Paris for many years and his pictures attracted 
much attention at the annual Salon exhibitions. His work 
shows the influence of the Barbizon men, but is too individual 
to suggest imitation. He was awarded third-class medal at the — 
Salon of 1879; second-class, 1886. Gold medal at the Exposi- 
tion-Universelle, Paris, 1889. Member of the Société des 
Artistes Francais. 


[ 150 ] 


JERVIS McENTEE, N. A. 


ORN at Rondout, N. Y., 1828; died, 1891. Pupil of Fred- 
erick E. Church, N. A. Elected associate of the National 
-Academy, New York, 1860, and was made a member in 1861. 

_ He was prominent among the early American landscape painters, 

his work being characterized by great sincerity, poetic feeling, 
and rich color. His pictures at the Centennial Exhibition of. 

1876 received commendation for their artistic qualities and a 

picture exhibited at the Royal Academy in 1872 was favorably 

received in London. He was especially fond of depicting the 
rich colors of autumn, and all his pictures were faithful trans- 
scriptions of characteristic American scenery. 


W. Y. MacGREGOR 
(Glasgow School) . 


ONE of the most influential men in the development of the 
~ Glasgow art movement was W. Y. MacGregor. Such was 
his strength of character and his knowledge gained by study 
that he was able to impress upon his intimates in art the neces- 
ity of striving for greater things than had been the quest of the 
popular artists of the time, in regard to choice of subject, form 
of composition, selection of details, technique, color, and tone. 

Mr. MacGregor first studied painting with James Docherty, 
and, later, with Robert Greenlees in Glasgow. But Professor 
Legros, in the Slade School, London, was his real master. He 
spent three years in the Slade School, and there he developed 
that seriousness of intention, largeness and dignity of design, 
wonderful charm of color, and that indefinable “style” char- 
acterizing all his work. He is an indefatigable worker, yet he 
is a most exacting critic of his own work and produces very few 
pictures. And, like the late George Inness, of our own country, 
he has the dreadful habit of returning to his finished works and 
repainting them — often with the result of making entirely new 
pictures and losing precious old ones. He works in oil, water 
color, and pastel, and he knows the resources and limitations of 
each. He has painted in Scotland, England, Spain, and in 


[ 151 ] 


South Africa, and his interpretations of Nature are so true in 
character that one is impressed with a realization of the very 
atmosphere of the region of the representation. Few artists 
have approximated in their work the majestic dignity, sim- 
plicity, and power pervading the productions of MacGregor. 
He is represented in the Scottish National Gallery, Edinburgh; 
in the Corporation Gallery, Glasgow, and other notable collec- 
tions, but his pictures are more rare, perhaps, than are those 
of any other living artist. 


HARRINGTON MANN 


BoEN in Glasgow, Scotland, in 1864. He studied painting 

in Glasgow, later in the Slade School, London, under Pro- 
fessor Legros, and in the Julian School, Paris, under Boulanger 
and Lefébvre. He has made numerous visits to France, Italy, 
Spain, and other countries, where he has studied the works of 
the old masters and has painted the life and scenes of to-day as 
they have appealed to him. Originally identified with the 
Glasgow art movement, during the last few years he has main- 
tained a studio in London, where he has achieved notable 
success in portraiture. He is a member of the Society of Por- 
trait Painters, and of the Pastel Society, London. 


CORNELIA F. MAURY 


ORN, New Orleans, Louisiana. Is now a resident of St. . 
Louis. Pupil of the St. Louis School of Fine Arts and of 
Jules Lefébvre, Raphael Collin, Benjamin Constant, Jean Paul 
Laurens, and Julien Dupré, Paris. Member of St. Louis Artists’ 
Guild, and of the Society of Western Artists. She is known for 
her charming and sympathetic interpretations of child life. 


FRANK C. MATHEWSON 


ORN, Barrington, R. I. Pupil of Laurens in Paris. Studio 
is in New York. 


[ 152 ] 


e 4 


ANTON MAUVE 


, Oe of the greatest of modern Dutch painters, Anton Mauve, 


; 2 


was born at Zaandam, 1838, and died in 1891. He was a 
pupil of Pieter Frederich Van Os, but early developed individual 
traits that constituted him a figure in the landscape art of his 
country. His paintings of Holland are interpretations of the 
spirit of the country. His draughtsmanship was sound, his 
technique was simple and adequate, his color was his own — 
and Holland’s. He was a master in the representation of 
atmospheric effects and his work was permeated with poetic 
feeling. He painted animals with knowledge and affection — 
understanding, sympathizing with them. In certain of his 
works, Mauve suggests Troyon; if not always so powerful a 


painter, he was usually more sympathetic. He was a member 


of the Dutch Society of Arts and Sciences, the Société des 


_Aquarellistes Belges, and a Knight of the Order of Leopold. 


He received medals at Philadelphia, Amsterdam, Vienna, Ant- 
werp, and Paris; and his works are in the museums at The 
Hague, Amsterdam, Rotterdam, and many of the most impor- 
tant collections of modern pictures. ‘‘ For simplicity and purity 
of style, Mauve was hardly equalled by Corot. * * * The 
spirit of inspiration and genius enabled him to transfuse into 
his work that spiritual life of nature without which art is but 
a dumb show.”— A. C. Loffell, in The Art Journal, April, 1894. 


GEORGE W. MAYNARD, N. A. _ 


Tek at Washington, D. C. Pupil of the Royal Academy, 

Antwerp. Temple Gold Medal, Pennsylvania Academy of 
the Fine Arts, 1884; medal, Prize Fund Exhibition, New York, 
1888; Evans’ Prize, American Water Color Society, 1889; 
medal as one of the designers of the Columbian Exposition, 
Chicago, 1893. Shaw Prize, Society of American Artists, 1897 ; 
silver medal, Pan-American Exposition, Buffalo, 1901. Mem- 
ber of the National Academy, the American Water Color Society, 
the Society of Mural Painters, and the Municipal Art Society, 


New York. 


[ 153 ] 


GEORGES MICHEL 


ORN, Paris, 1763; died, 1843. A strong painter, greatly 
influenced by the Dutch masters of landscape — Van Goyen 

and Hobbema in particular — and by the English artist Con- é a 
stable. He was the first among French painters to discard the — | 
academic conventions and paint nature as it was revealed to - 
his observant eyes — not nature crowded with details, but seen 
in a large, impressive way. Of him W. C. Brownell, in French — 
Art, writes: ‘And neither Daubigny nor Troyon nor, indeed, — 
Rousseau himself, often reaches in dramatic grandeur the lofty — 
landscape of Michel, who, with Paul Huet (the latter in a more 
strictly historic sense), were so truly the forerunners and initia- 
tors of the romantic landscape movement, etc.” 


LOUIS R. MIGNOT, N. A. 


ORN in South Carolina in 1831. He spent some years in 
study in Holland and then established a studio in New 
York, where, in 1859, he was elected a member of the National 
Academy. He traveled extensively in South America and was 
one of the first artists to portray the remarkably picturesque 
effects of the tropical and semi-tropical countries. In 1861, he 
went to London, where he resided until he died, in 1871. After 
his death, his collected works, exhibited in London, attracted 
much attention. ‘‘At home and abroad Mignot’s landscapes 
have won admiration. He is a master of color and his atmos- 
pheric effects are wonderful. * * * The absolute truth of 
his work is impressive.” — Tuckerman, in Book of the Artists. 


CHARLES H. MILLER, N. A. 


Bory, New York. Pupil of the National Academy of Design, 

New York, and of Adolf Lier, and the Bavarian Royal 
Academy, Munich. He has been awarded medals at Boston, 
Philadelphia, and New Orleans. And was elected academician 
in 1875. He is represented in many of the most important 


[ 154 ] 


collections in America. His landscapes are mellow in color and - 
full of vigor. Many of his pictures of the picturesque spots on 
Long Island have an historical as well as artistic value. 


FREDERIC MONTENARD 


RORN at Paris. Pupil of Lambinet, Dubufe, Mazerole, 
~ Delaunay, and Puvis-de-Chavannes. An officer of the 
French army, his predilection for art caused him to abandon a 


military life and take up painting. He received honorable 


mention at the Salon, Paris, in 1881; medals: Salon, Paris, 
1883, third class; 1889, second class; gold medal, 1889, Expo- 
sition-Universelle. He was made Chevalier of the Legion of 
Honor in 1890. Member of the Jury, Paris Exposition, 1900; 
member of the Société des Artistes Francais. He loves the 
land of the sun and adores the sea. Many of his most successful 
pictures have been inspired by the Mediterranean in the region 
of Toulon. 


ANNIE L. MORGAN 


Eee at Brooklyn, N. Y. Studied under her father, William 

Morgan, A. N. A., and in the National Academy, New 
-York. Instructor in the Ladies’ Art Association of New York 
and Brooklyn. 


WILLIAM MOUNCEY 
(Glasgow School) 


ae AM MOUNCEY was born in Glasgow, but lived 

mostly at Kirkcudbright, in the south of Scotland, where 
he died some years ago. He had a strong feeling for dignity 
of composition and rich color. Some of his works suggested 
Constable, though his color was more robust than that of the 
earlier master. His technique was broad, simple, and full of 
charm. 


[155] > 


HERMANN DUDLEY MURPHY 


ERMANN DUDLEY MURPHY was born at Marlboro, 

Mass., in 1867. He studied at the school of the Boston ~ 
Museum of Fine Arts, and at the Academie Julian, Paris, under 
Jean Paul Laurens. He was awarded a bronze medal at the 
Pan-American Exposition, Buffalo, 1901; a silver medal for 
oil painting, and a bronze medal for water color at the Universal 
Exposition, St. Louis, 1904. He is a member of the eek 
Society, Boston, and the New York Water Color Club. 


TONY NELL 


ER work attracted attention in the New York Water Color. 

Club exhibition, November, 1908, and she has since been 

represented in exhibitions at the St. Louis Museum of Fine 
Arts and Albright Art Gallery, Buffalo. 


RHODA HOLMES NICHOLLS 


Se was born in Coventry, England, coming to America in 

1884. Pupil of the Bloomsbury School of Art in London; 
of Camerano and Vertunni in Rome. Queen’s Scholarship, 
London; gold medal, Competitive Prize Fund Exhibition, New 
York, 1885; medal, World’s Columbian Exposition, Chicago, 
1893; medal, Atlanta Exposition, 1895; medal, Nashville 
Exposition, 1897; medal, Boston, 1898; medal, Charlotte, 
N. C., 1899; bronze medal, Pan-American Exposition, Buffalo, 
1901; bronze medal, Charleston Exposition, 1902; bronze 
medal, Universal Exposition, St. Louis, 1904. Member of the 
American Water Color Society, the New York Water Color 
Club, the Woman’s Art Club, New York, and Societa degli 
Aquarellisti and Circolo Artistico, Rome. 


[ 156 ] 


é STUART PARK 
(Glasgow School) 


TUART PARK was one of the original members of the 
“Glasgow School” and has his home at Kilmarnock, Scot- 
land. As a painter of flowers he is preéminent, though he has 

painted some portraits in a most sympathetic and charming 

manner. He is one of the most accomplished technicians in the 
world. With a single stroke of the brush he paints the petal 
of a flower — with all its freshness and crispness, its fragility, 
its unsullied purity, its delicate gradations of color, and its | 
vitality. In beautiful arrangement, in truth of color, and 
rightness of tone, his compositions are exceptional. One is 
impressed by the unerring accuracy, spontaneity, and the 
apparent ease of his expression; by the joy which he seems to 
involve in his work. Yet these qualities have been gained as 
the result of long and indefatigable study and painstaking 
practice. The single touch that produces the perfect petal — 
with its faintest blush of color, analogous to the bloom on the 
grape or the plum — may be the successor of a hundred attempts 
to realize the quality sought for. And sometimes the failure 
of the single touch may mean the casting aside of a picture. 

Mr. Park interprets the soul of the flower and suggests its 
short but lovely life; its mission of beauty. One misses the 
perfume, but his flowers have the advantage of retaining their 
freshness and purity long after the originals from which they 
have been painted are withered and gone. 


. 


ARTHUR PARTON, N. A. 


ORN, Hudson, N. Y., 1842. Pupil of the Pennsylvania 

Academy of Fine Arts and of William T. Richards, Phila- 
delphia. Gold medal, Competitive Prize Fund Exhibition, 
New York, 1878; Temple Silver Medal, Pennsylvania Academy 
of the Fine Arts, 1889. Honorable mention, Exposition-Uni- 
verselle, Paris, 1889; Lotos Club Purchase, National Academy, 
1896; bronze medal, Universal Exposition, St. Louis, 1904. 


piterae 


Member of the National Academy and the ‘American Water 


Color Society, New York. Represented in the Metropolitan 
Museum of Art, and many of the most important collections 
of America. 


ERNEST PARTON ca TN 
ORN at Hudson, N. Y., in 1845. First exhibited at the 


National Academy, New York. He was awarded a medal, — 


Boston, 1883. He has lived in London for many years and is 


a member of the Royal Institute of Painters in Water Colors, 


- London, and of the Artists’ Fund Society, New York. His 

picture, ‘‘The Waning of the- Year,” was purchased by the 
Royal Academy for the British Government in 1879, and is 
now in the South Kensington Museum, London. 


JAMES PATERSON 
(Glasgow School) 


a NATIVE of Glasgow, James Rajarean early in life received 
instruction in drawing and painting at the Glasgow School 


of Art and from A. D. Robinson. Later he went to Paris, 


where he studied for two years under Jacquesson de la Chev- 
reuse and in the studio of Jean Paul Laurens. His specialty is 
landscape, and he has worked both in oil and in water color 
with eminent success. For some years he has resided in Hdin- 
burgh. He is represented in the Scottish National Gallery, and 
in many of the prominent public and private collections of 
modern pictures in Scotland, England, and Germany. Several 
of his paintings are owned in the United States. Concerning 


Mr. Paterson’s works, a writer in the Glasgow Cvtizen has — 


remarked : 
“One of the most individual and poetic landscape painters 
is James Paterson. Seldom, if ever, concerning himself with 
what is termed the picturesque or romantic in scenery, attempt- 
ing no striking pictorial effects, Mr. Paterson nevertheless, 
succeeds, and succeeds to admiration, in his attempts to seek 
out and transfer to canvas some of the more fleeting of the 


[ 158 ] 


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more delicate aspects of nature. * * * Mr. Paterson’s 


_ style combines reticence, tenderness, and truth -- truth at once 


to nature and to art.” 


GEORGE PIRIE 
(Glasgow School) 


BORN at ee pas, Mr. Pirie early was drawn to an artistic 

— career. He studied at the Slade School in London, and in 
Paris under Lefébvre and Boulanger. 

Mr. Pirie is devoted to the interpretation of animal life, and 


he paints with keen sympathy, insight, and appreciation the 


incidents and moods characteristic of the lives of animals and 
birds. While his technique is notable for its simplicity and 
breadth, no artist is more conscientious in his study and expres- 
sion. In addition to the realization of the texture of hair or 
fur or feathers, he must realize anatomical proportions and 
muscular development, and must strive for the expression of 


_ vitality — of nervous energy, arrested or in motion. Owing to 


the difficulty of exercising control over the movements of his 
model, perhaps the animal painter essays the solution of the 
most difficult problems in the domain of art. 

Mr. Pirie is a diligent student and an indefatigable worker. 
Yet he is so severely critical — so exacting in his demands — 
that his technique shall express all that he would have it express, 
that his finished pictures are few in number. 


LEO PUTZ 


EO PUTZ is a member of the “ Munich Sholle,”’ a title under 

— which many of the younger and more individual of the 
German artists gathered themselves together a few years ago. 
In the catalogue of the Exhibition of Contemporary German 
Art, held at the Metropolitan Museum of Art a year ago, Paul 
Clemen, in commenting on this group of powerful, original 
painters, says: “Leo Putz possesses perhaps the most powerful 
talent among them; he is sometimes almost too tremendous 
in the broadness of the strokes of his brush, but masterly in a 


[ 159 ] 


wonderful simplification of form and color; at the same time 
enchanting in his warm, rich, luminous, and yet finely harmon- 
ized tones.” 


FRANK K. M. REHN, A. N. A. 


ORN, Philadelphia, Pa., 1848. Pupil of the Pennsylvania 

Academy of the Fine Arts, Philadelphia. First prize, St. 
Louis, 1882; prize, Water Color Competitive Exhibition, New 
York; gold medal, Prize Fund Exhibition, New York; honor- 
able mention, Paris Exposition, 1900; bronze medal, Pan- 
American Exposition; silver medal, Charleston Exposition. 
Associate of the National Academy; member of the Society 
of American Artists and the New York Water Color Club. 


CHARLES REIFFEL 


ORN, Indianapolis, Ind. Studied for a short time under 
Professor Carl Marr, at Munich. He has traveled and 
studied in France, Germany, Holland, England, Italy, and 
Morocco. Awarded the Fellowship Prize, Buffalo Society of 
Artists, 1908. a 


FREDERICK RONDEL, A. N. A. 


Bos in 1826 in Paris, France; died in New York, 1892. 
Studied under Auguste, Jugelet, Theodore Gudin, in l’EKcole 

des Beaux Arts, and in the Gobelins, Paris. First exhibited, 
1848, in Paris, and in 1855 at the National Academy, New 
York. He was elected an associate of the National Academy 
in 1860. Was a member of the American Water Color Society. 


ISABEL L. ROSS 


Boks in Buffalo, N. Y. Studied in New York at the Art 
Students’ League with Carroll Beckwith, and in Paris with 
Raphael Collin and Carl Delance at the Collarossi atelier, and 


[ 160 ] 


at the Delacluse School, taking at oF latter place the scholarship 
for painting from life. She has lived much abroad, residing 
in France, Italy, and Spain. Her studio is now in Granada, 
Spain. 


MRS. E. M. SCOTT 


j bveal Springwater, N. Y. Pupil of the National Academy 

and the Art Students’ League, New York, and of Collins, 
Paris. Medal, Atlanta Exposition, 1895. Honorable mention 
for water color, Pan-American Exposition, Buffalo, 1901. 
Water Color Prize at, Exhibition of the Women’s Art Club, 
1902. Member of the American Water Color Society, the New 
York Water Color Club, and the Women’s Art Club of New 
York. 


HENRY B. SNELL, N. A. 


ORN, Richmond, England, 1858. Pupil of Art Students’ 

' League, New York. Gold medal, Philadelphia Art Club, 
1896: first prize, Tennessee Centennial Exposition, Nashville, 
1897; honorable mention, Exposition-Universelle, Paris, 1900; 
silver medal, Pan-American Exposition, Buffalo, 1901; silver 
medal, Universal Exposition, St. Louis, 1904; first prize ($300), 
Worcester, Mass., Art Museum, 1905. Member of the National 
- Academy, American Water Color Society, president of the New 
York Water Color Club, and Officer de l’Academie et de |’In- 
struction Publique, France. Instructor in School of Design, 
Philadelphia. Represented in Boston Art Club, Philadelphia 
Art Club, Pratt Institute, Brooklyn, and Buffalo Fine Arts 
Academy. 


JOAQUIN SOROLLA Y BASTIDA 


a IN SOROLLA Y BASTIDA was born at Valencia, 

Spain, February 27, 1863. Left an orphan at an early age, 
he was adopted by his aunt, Dona Isabel Bastida. When sent 
to school, he made little progress in the studies assigned to him, 
but showed great persistence in making embryonic drawings 


[ 161 ] 


in his copy book. Fortunately, one of his masters was discern- — 


ing enough to recognize his precocious talent, and overlooked 
his inattention to regular studies, even surreptiously supplying 
him with drawing material. At the age of fifteen, having 
manifested such decided talent, he was allowed to pursue his 
art studies uninterruptedly, and almost immediately after 
entering the Academie de Bellos Artes of San Carlos at Valencia, 


he won the triple prize for coloring, drawing from the model 


and perspective. He remained at the academy for several 
years, going to Madrid where he studiously copied the master- 
pieces of Velasquez and Ribera in the Prado. In 1884, he won 
the scholarship offered by his native town for art study in Rome. 


While in Italy he spent much time copying the old Italian ~ 


masters. Sorolla’s first introduction to the art lovers of America 
was through his picture ‘Another Marguerite.” This picture 
was exhibited at the World’s Columbian Exposition at Chicago, 
1893, and was purchased by Dr. Halsey C. Ives for the St. Louis 
Museum of Fine Arts. It so won Mr. Kurtz’s admiration that 


in 1894, he visited Senor Sorolla’s studio in Madrid with the 


idea of sometime exhibiting in America the work of this modern 
master. However, it was Mr. Archer M. Huntington who was 
able to overcome all obstacles to such an enterprise, and rendered 
his country great service in bringing to the Hispanic Society, 


New York, the exhibition so fresh in the mind of the public. 


Through his courtesy and codperation, Mr. Kurtz’s ambition 
of years was realized in the Sorolla Exhibition at the Albright 
Art Gallery a year ago. Camille Mauclair in writing of Sorolla’s 
facility and swiftness of workmanship says, ‘‘L’eclat subit 
dissimule la longue préparation.”’ An infinite power of taking 
pains together with many years of laborious, diligent application 


has given him the ability to deal with all technical difficulties. 


without apparent effort. 


EUGENE SPEICHER 


ORN, Buffalo, N. Y., 1883. Pupil of the Art Students’ 
League, Buffalo, where, between the years 1903 and 1907, 
he took many prizes, and in the latter year the New York Art 


[ 162 ] 


Students’ League Scholarship. At the league in New York 
he was awarded the Spencer Trask Prize in 1908, and the Kelly 
Portrait Prize in 1909. He is now an instructor at the Art 
‘Students’ League, New York. 


+ 


N. STEFFELAAR 


ORN, The Hague, Holland. Pupil of Israels. Professor 
in the academy at The Hague. 


i 


R. MACAULAY STEVENSON 
_ (Glasgow School ) 


MACAULAY STEVENSON was born at Glasgow. He is 

~* entirely self-taught. During a number of years he lived 
away from people, like Thoreau, and studied and sketched 
incessantly. He shows wonderful ability in selecting the 
essentials of a subject, and of eliminating the non-essentials. 
The intensity of feeling which he involves in his work and the 
truth to nature which pervades it, reflect his personality and 
devotion. He is never an imitator of nature, but always an 
interpreter. No matter what the theme of his expression, it 
always reveals his poetic inspiration — whether it be a land- 
scape suffused with the noonday sun, permeated by the silvery 
light of a gray day, in the romantic shadows of evening, or 
under the witching effect of moonlight. Stevenson, like Mac- 
Gregor and Pirie, is a diligent and rapid worker, but a slow pro- 
ducer. He strives always to surpass what he has done before, 
and is the severest critic of his own work. Though his pictures 
give the impression of having been painted with the greatest 
ease, nearly all are the result of long consideration, many tenta- 
tive studies, frequent changes and repaintings. Few artists 
have enjoyed wider recognition than has been accorded Mr. 
Stevenson. He was awarded a gold medal at Munich in 1898, 
a diploma of honor at Barcelona in 1894, a gold medal at Brus- 
sels in 1897. His ‘‘ Fairies’ Pool” was purchased by the German 
Government and is in the National Gallery at Berlin; “A 


[ 163 ] 


Nocturne ” 


Weimar, Germany; “A Dream of Twilight ” is in the National 


Gallery, Brussels; ‘‘Nocturne, Bardowie Loch” is in the col- — 


lection of Prince-Regent Luitpold, of Bavaria; ‘‘The Turnip 
Gatherers ” is in the collection of Count Andrassy, Buda-Pesth, 
Hungary; “Evening” is in the New Pinakothek, Munich, 
Bavaria; “A Pastoral” is in the Museum of Fine Arts, St. 


Louis; and ‘Early Morning on the Seine” lately has been — 


purchased for the Municipal Gallery at Glasgow. Mr. Stevenson 


is a member of the International Society of Sculptors, Painters, 


and Gravers, of “The Secession” of Munich, and La Cercle 
Litteraire-Artistique, Belgium. 

“Macaulay Stevenson’s pictures are full of the ccutinens 
of a mind that keeps very close to Nature. In his work one 
feels the influence of Corot, Dupré, Daubigny, and — back of 
them are Constable and Hobbema. Yet, over and above all, 
one feels Macaulay Stevenson—an intensely individual, as 
well as poetic, nature.” — Modern Art (Boston, April, 1896). 


THOMAS SULLY 


ORN at Horncastle, Lincolnshire, England, 1783; brought 
to America, 1792; died, 1872. He was one of the most 
prominent of the American artists of the first half of the present 
century. He lived and painted in Charlestown, 8. C., New York, 
and Philadelphia. He studied for a short time with Gilbert 


Stuart, in Boston, and later, in 1809, with Benjamin West in 


London. He visited England again in 1837, and in 1838, he 
painted from life a full-length portrait of Queen Victoria. Other 
notable portraits by him were of Lafayette, President Thomas 
Jefferson, Commodore Decatur, Reverdy Johnson, Charles 
Carroll, George Frederick Cooke, Charles and Fanny Kemble, 
and Bishop White. His ‘‘ Washington Crossing the Delaware,” 
one of his most familiarly known works, is in the Boston Museum. 

‘“‘Keenly alive to the more refined phases of life and Nature, 


[ 164 ] 


is in the National Gallery of Bohemia, at Prague; 
“Moonrise” is in the Municipal Gallery at Barcelona, Spain; 
‘A Dewy Morning on the Forth” is in the Municipal Gallery, © 


ae 


<a See a eta 


following with instinctive truth the principles of genuine taste, 
he exhibits the freedom of touch and airiness of outline which 
belong to spontaneous emanations.”— Tuckerman, Book of the 
Artists. 


GROSVENOR THOMAS 
(Glasgow School) 


(jROSVENOR THOMAS was born at Sydney, New South 

Wales, but at an early age was taken to England. Though 
he soon developed a taste for drawing, he did not begin to paint 
until 1886. He is altogether self-taught, yet he has gained, — 
not only from association with the other men of the Glasgow 
School, but from study of the works of Corot, Daubigny, and 
others of the Barbizon group, as well as those of the modern 
Dutchmen — as the brothers Maris and others. An _ imitator 
he certainly is not; he has digested and assimilated such influ- 
ences as have affected him. In all his pictures there is a delight- 
ful freedom of brush work, a sketchiness and a directness that 
can be sincerely praised, because they are the outcome, not of 
uncertainty as to what should be included in the composition, 
but of accurate discrimination between the details that are 
essential and those that would only diminish the strength of 
the main impression by introducing unnecessary complications. 
As a colorist he is reserved, but his reserve is not caused by any 
want of true sensitiveness; he plays with delicate modulations 
of color tone with extraordinary skill. Mr. Thomas is an 
Associate of the International Society of Sculptors, Painters, 
and Gravers, a member of the Royal Scottish Society of Painters 
in Water Colors, and a member of the Pastel Society. He has 
been awarded gold medals at the International Exhibition at 
Munich and Dresden, and his works are to be found in the 
National Galleries at Budapesth, Weimar, and in many public 
and private galleries in Great Britain, on the Continent, and in 
America. He was one of the early members of the Glasgow 
School; but for a number of years has been established in 
London, where he is rapidly becoming recognized as a leading 
painter of landscape. 


[ 165 ] 


ALEXANDER T. VAN LAER, A. N. A. 


Be at Auburn, N. Y., 1857. Pupil of the National Acad- 

emy of Design, and of R. Swain Gifford, N. Y.; and of 
George Poggenbeek, in Holland. Bronze medal, Charleston 
Exposition, 1902. Associate of the National Academy; mem- 
ber of the Jury of Selection for the United States Section, De- 
partment of Art, Louisiana Purchase Exposition, and ase 
member of: the International Jury of Awards. . 


DOUGLAS VOLK, N. A. 


ORN at Pittsfield, Mass., 1856. Pupil of J. L. Gerome, 

Paris. He was awarded medal at World’s Columbian 
Exposition, Chicago, 1893; Shaw Fund Purchase ($1,500), 
Society of American Artists, 1899; silver medal, Pan-American 
Exposition, Buffalo, 1901; silver medal, Charleston Exposition, 
1902; Carnegie Prize, Society of American Artists, 1903. Mem- 
ber of the National Academy and the Society of American 
Artists. 


FREDERICK J. WAUGH 


ORN, Bordentown, N. J. Pupil of the Pennsylvania 

Academy of the Fine Arts, Philadelphia, and of the Julian 
‘Academy, Paris. Is represented in the Walker Art Gallery, 
Liverpool, England; the Academy of Fine Arts of Bristol, 
England; the Durban Art Gallery, Natal, South Africa; the 
Art Club, Philadelphia; Masonic Temple, Philadelphia, ete. 


JULIAN ALDEN WEIR, N. A. 


ORN, West Point, N. Y., 1852. Pupil of his father, Robert ~ 
W. Weir, and of J. L. Gerome, Paris. Honorable mention, 
Salon, Paris, 1882; prize of $2,000, Competitive Prize Fund 
Exhibition, New York, 1886; silver medal for painting, and 
bronze medal for drawing, Exposition-Universelle, Paris, 1900; 
gold medal, Pan-American Exposition, Buffalo, 1901; gold 


[ 166 ] 


Py Se ee 


~ medal for painting, and silver medal for engraving, Universal 


Exposition, St. Louis, 1904; Temple Gold Medal, Pennsylvania 


_ Academy of the Fine Arts, 1905; Inness Gold Medal, National 


Academy, 1906. Member of the National Academy, American 
Water Color Society, ‘The Ten” American Painters, and New 
York Etching Club. 


GEORGE WETHERBEE 


DORN at Cincinnati, Ohio. Pupil of the Royal Academy at 

Antwerp, and the Royal Academy at London. Member 
of the Royal British Institute of Painters in Oil, and of the 
Royal Institute of Painters in Water Color, London. 


MAX WEYL 


ORN at Muhlen-on-the-Neckar, Germany, 1840. Came to 
America in 18538. Practiced watchmaking until 1878, 
subsequently adopting art as a profession. Self-taught. Studied 
in Europe, 1880. First exhibited 1883, at the National Academy, 
New York. He was awarded First Prize, Washington Society 


of Artists, 1901; Parson’s Prize, Washington Society of Artists, 
1904. 


BELLE CADY WHITE 


ORN, Chatham, N. Y., 1868. Pupil of Pratt_Institute in 
Brooklyn. Member of the Pratt Art Club. 


IRVING R. WILES, N. A. 


ORN, Utica, N. Y., 1861. Pupil of his father, L. M. Wiles, 
William M. Chase, and Carrol Beckwith, New York, and of 
Carolus Duran, Paris. Third Hallgarten Prize, National Acad- 
emy, New York, 1886; Thomas B. Clarke Prize, National 


_ Academy, 1889; honorable mention, Exposition-Universelle, 


Paris, 1889; medal, World’s Columbian Exposition, Chicago, 
1893; William T. Evans Prize, American Water Color Society, 


PeL6r 


1897; medal, Tennessee Centennial Exposition, Nashville, 
1897; Samuel T. Shaw Prize, Society of American Artists, 
1900; bronze medal, Exposition Universelle, Paris, 1900; gold 
medal, Pan-American Exposition, Buffalo, 1901; First Corcoran 
Prize, Society of Washington Artists, 1901; gold medal, Uni- 
versal Exposition, St. Louis, 1904. Member of the National 
Academy, American Water Color Society, and New York Water 
Color Club. 


CARLETON WIGGINS, A. N. A. 


ORN at Turners, Orange County, New York. Pupil of the 
National Academy and of George Inness, New York. Was 
awarded gold medal at a competitive Prize Fund Exhibition, 
New York, 1877; bronze medal at the Pan-American Exposi- 
tion, Buffalo, 1901. Member of the Society of American Artists, 
Associate of the National Academy, member of the American 
Water Color Society, and of the Society of Landscape Painters. 


GEORGE BACON WOOD 


Boks Philadelphia, Pa., 1832. Pupil of Pennsylvania 

Academy of Fine Arts, under C. Schussele. Member of 
Philadelphia Sketch Club and Artists’ Fund Society of Phila- 
delphia. 


GENJIRO YETO 


ENJIRO YETO was born in Japan, in 1867. He came to 

America sixteen years ago and became a pupil of the Art 

Students’ League and of John H. Twachtman, New York. He 
is a member of the New York Water Color Club. 


EDMOND CHARLES YON 


ORN, Paris. Pupil of Lequien. Medals, Salon, Paris, 1875, 
third class; 1879, second class. Gold medal, Exposition 
Universelle, Paris, 1889. Was made Chevalier of the Legion 


[ 168 ] 


of Honor, 1886. Member of the Société des Artistes Francais. 
His landscapes show keen observation and sincere interpretation. 
His picture “‘La Rafale,” in the Salon of 1883, won him many 
eulogies from the press, and his painting ‘‘Le Pont Valentré a 
Cahors,” was purchased by the French Government, and is 
now in the Gallery of the Luxembourg. 


[ 169 ] 


LIST OF ARTISTS REPRESENTED AND THEIR 


PICTURES 
CATALOGUE 
NUMBERS 

ARTZ, Davin ApOLF CONSTANT, 

A Dutch Baby 138 
ATKINSON, Miss L. C., 

Chrysanthemums 3 
BELLENGER, GEorGEs, 

The Shores of Brittany 101 
BELCHER, Hitpa, 

Sibyl — Girl in Yellow Dress 53 
BLAKELOCK, Rautpu ALBERT, 

Going to the Spring 63 

Evening 33 

Autumn 137 
BOGERT, GrorceE H.., 

Moonlight, Etaples, France 64 

Sunrise, Coast of France 127 
BOLMER, M. Dr Forsst, 

Looking Toward the Sea 85 

The Last of the Sunlight 54 
BOSTON, Josery H.., 

A Country Girl 2 
BOTTO, J. B., 

Evening jh 

The Shadows Steal Out of the Twilight Land 102 

A Spring Morning 15 
BRENNER, Cart C., 

An April Day in Kentucky 16 
BRISTOL, J. B., 

An Inlet of Moosehead Lake 106 


BULL, Cuarues Livineston, 
‘“Where the Little Fawn Came Down to Drink” 31 


Frag) 


CATALOGUE 


3 N 
CASILEAR, J. W., ee a 
The Genesee Meadows 32 
CHASE, Wituiam M., 

Girl in Japanese Costume 143 
COUTURE, THomas, 
Head of a Woman 151 
COURTRY, CHaruets Louis, 
A French Farmyard 128 
DAVIS, Cuarues H., 
The Edge of the Woods, “Twilight ” 104 
DE HAAS, M. F. H., 
Old Wrecks at High Tide 52 
DEMING, ADELAIDE, 
ie ““Moon Shadows” 81 
DEWEY, CHarues MELVILLE, 
“Moonlight ” 141 
DODGE, W. DeLerrwicn, 
Mid-ocean 34 
DODGSHUN, A. Van CLEEF, 
A Bit of Country 4 
A New Jersey Landscape 35 
WOGP A JH, 
An Interesting Tale 103 
DUFNER, Epwarp, 
Mariette Li, 
ERICSON, Davip, 
The Morning of Life 150 
EATON, CHARLES WARREN, 
Twilight After Rain 116 
Twilight in Winter 18 


FINK, Avcust, 
A Bavarian Landscape 19 


[zie 


FORSYTH, Wiiuiam, 
The Apprentice 


FOUACE, G. R., 
Still Life 


GAULD, Davn, 
The Haunted Chateau 


GRANT, H. Gorpon, 
The Spook 


GRIMELUND, JoHanngs, 
Fisherman’s Hut, Norway 


GRISWOLD, C. C., 
A View in Italy 


GUTHRIE, James, 
Street in Oban, Night 


HAGBERG, Cuaruss J., 
Moonlight After Storm at Sea 
Moonrise at Sea 
Midsummer: Moonrise at Sea 


HAMILTON, J. WuHIrELaw, 
Venice 
The Ebbing Tide 


HARDENBERGH, Euizasern, 
Geraniums 


HASBROUCK, DvBors F., 


October Afternoon in the Catskills 


A New Jersey Sunset 


A Winter Morning in New Jersey 
“The Melancholy Days Have Come” 


Sunset, Early Autumn 
Indian Summer 

Autumnal Sunset After Rain 
Winter 

Morning in the Catskills 


72a 


CaTALOGUE 
NUMBERS 


5 


82 


142 


105 


20 


36 


117 


129 


HASSAM, Cups, 
The Stoop in Winter 
Evening, Return from the Fields 
Waverly Oaks 
A Girl in Pink 


HERVIER, A., 
’ Landscape Near Barbizon 


HOLMES, Exranor A., 
Pink Roses 
Sweet Briar Roses 
Pond Lilies | 
Bowl of Roses 


HORNEL, E. A., os 
Street Scene, Tokyo, Japan 
The Balcony, Yokohama, Japan 
Reverie 


HOUSTON, Groree, 
The Shores of Iona, 


HUMMELL, Tueopor, 


Sleeping Child, Study in Gray and Green. 


HUNTER, Exvizaseru C., 
Nasturtiums 


JOHNSON, Dav, - 
The Androscoggin River Country 


JOHNSON, Eastman , 
Captain Folger of Nantucket 
Ruth 
Winter 


JOINER, Harvey, 
A Winter Sunset 


JONES, Francis C., 
The Village Botanist 


[173] 


CATALOGUE 
NUMBERS 


70 
118 
39 
140 


139 


109 


23 
49 
97 


56 
147 


24 


100 


KAULA, LEE Lurkin, 
Girl in Red 


KENNEDY, Lena, 
Light at Evening Time 
Cat 


KENNEDY, Wiuuiam, 
A Farmyard 
Moonlight 


KENSETT, J. F., 
Maples and Birches in October 


KOOPMAN, Avaustus, 
Street Scene 


LIE, Jonas, 
Rolling Clouds 


LOIR, Lutat, 
The Evening’s Gleanings 


MacGREGOR, W. Y., 
On the Stour 
Study of Trees (Crayon) 
Shoreham 


MANN, Harrineton, 
An Italian Landscape 


MAURY, Cornet ia F., 
The Chorister 


re 


MASON, Mavp, 
An Old Brittany Road 


MATHEWSON, Frank C., 
White Horse Inn 


MAUVE, Anton, 
Sheep on the Dunes 


[ 174 ] 


CaTALOGUE 
NUMBERS 


40 


98 
50 


84 
119 


25 


41 


71 


43 


47 


153 


MAYNARD, GrEorGE W., 
Beach at Easthampton, Long Island 
After Rain, Easthampton, Long Island 
Old Windmill, Dordrecht, Holland 
. The Breakers 
The Waves at Easthampton, Long Island 
Marble Head, Massachusetts, Low Tide 


McENTEE, Jervis, 
A Mountain Brook 
A Tributary of the Delaware 


MICHEL, GrEor@ss, 
Landscape (Water Color and Crayon) 


MIGNOT, Louis R., 
On the Orinoco River, Venezuela 


MILLER, Cuarues H., 
Springfield Valley, Long Island 


MONTENARD, FREpDERIC, 
The Mediterranean, Near Toulon 


MORGAN, Annie L., 
A Cluster of Grapes 


MOUNCEY, WI.u1Am, 
The Mill Pond 


MURPHY, Hermann DUDLEY, 
Still Life 
The Lavender Shawl 
The Portiere 


NELL, Tony, 
In the Hallway 


NICHOLLS, Ruopa Ho.LMEs, 
Fisherman Returning 


PARK, Srvart, 
Daffodils 
Violas 


[175 ] 


CATALOGUE 
NUMBERS 


26 
94 
121 
110 
o7 
48 


88 
42 


72 


44 


27 


131 


73 
95 
123 


80 


132 


10 
89 


PARTON, Artuur, 
Summer Skies 


PARTON, ERNEsrT, 
An Old Road in Wales 


PATERSON, JamgEs, 
Castle Fairn 


PIRIE, GroreeE, 
A Cock 


PLATT, Livineston, 
Early Winter 


PUTZ, Lxo, | 
Washerwomen, Verona 


REHN, F. K. M., 
Fishing Boats, Evening 


Old Wharves, Gloster Harbor, Morning 


A Glowing Sunset 


REIFFEL, CHar.es, 
A Street in Tangier 
A Bit of Tangier 
Low Tide, The Thames 
Lightning 


RONDEL, FREpERIcK, 
Summer in New England 


ROSS, Isaseu L., 
A Bit of Venice 


SCOTT, Mrs. E. M., 
Pinks 


SNELL, Henry B., 
Sails in Sunlight 


SPEICHER, EvcGEng, 
An Opalescent Sky 


[ 176 ] 


CATALOGUE 
NUMBERS 


96 


124 


148 


111 


59 


112 


58 
113 
149 


76 
93 
28 
125 


77 


78 


29 


91 


45 


SOROLLA Y BASTIDA, Joaqurn, 
Playa de Biarritz 
Playa de Valencia 
Leon 


STEFFELAAR, N., 
A Dutch Interior 


STEVENSON, R. Macautnay, 
Rhapsody 


SULLY, THomas, 
Study of a Woman’s Head 


THOMAS, GrosvENor, 
A Summer Night 


VAN LAER, A. T., 
: After an April Snow Storm 


VOLK, Doua.tas, 
A Puritan Maid 


WAUGH, FreEpeErRIck J., 
Something in the Woodpile 


WETHERBEE, Grorce, 
Music of Pipe and Brook 


WEIR, J. ALDEN, 


CATALOGUE 
NUMBERS 


133 
152 
60 


12 


67 


135 


46 


126 


Court of Honor, World’s Columbian Exposition, — 


Chicago 


WEYL, Max, 
In the Kaloramas Hills, Near Washington 
On Rock Creek, Near Washington 


WHITH, Euizaseru Capy, 
Still Life 


WIGGINS, Carterton J., 
Evening, Village of Grez, France 
Road Near Southampton, Long Island 


ved 


90 


30 
115 


62 


146 
68 


CaTALOGUE 


NUMBERS 

WILES, Irvine R.., 

Baby’s Holiday 136 

In the Garden 114 

A Morning Stroll 61 
WOOD, Georce B., 

Drifting 13 
YETO, GEns1Ro, 

Serving the Guests 92 

A Poppy 14 
YON, EpmMonp CHARLEs, 

Landscape, St. Auld, France 79 


[ 178 ] 


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